Dimensions: image: 173 x 273 mm
Copyright: © Peter Doig | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Curator: Looking at Peter Doig’s intaglio print, "Border House", I'm struck by its atmosphere. It’s like a memory, a faded photograph of a place swallowed by nature. Editor: Absolutely. The stark black and white adds to that sense of something decaying, a lost modern utopia perhaps. The house is such a potent symbol, isn’t it? Curator: Definitely a kind of abandoned promise. The way Doig uses the trees as a screen – framing, obscuring – it makes you feel like you're peeking in on something private, something forgotten. It plays with the symbolism of nature reclaiming man's creations. Editor: The house feels haunted, in a way, even though there are no figures. It’s as if the trees themselves are the specters. I love how the rough texture of the print enhances that eeriness. Curator: Right? It’s a place I feel I've seen in a dream. Makes you wonder about all the forgotten places that fade from our collective memory. Editor: Indeed. A powerful reminder of time's passage.
Comments
Join the conversation
Join millions of artists and users on Artera today and experience the ultimate creative platform.
Ten Etchings is Doig’s first print portfolio. As the title indicates, it is a suite of ten etchings. The portfolio was produced in an edition of thirty-five. Tate’s copy is one of six additional proof sets. Each print is individually signed and numbered ‘TC’ (Tate copy) by the artist. The portfolio is presented in a red artist’s solander box with title and colophon pages designed by Peter B. Willberg. It was printed at Hope Sufferance Press, London on 350gsm Zerkall paper and published by Charles Booth-Clibborn under his imprint, The Paragon Press.
CollectMore like this
