Dimensions: image: 173 x 278 mm
Copyright: © Peter Doig | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Curator: This is Peter Doig's "Concrete Cabin," held here at the Tate. It’s an aquatint etching. Editor: It's so dense! The interplay of black and white creates this claustrophobic, almost unsettling feeling. Curator: The print uses layering, which helps to abstract the architectural form. Its scale encourages an intimate viewing experience. Doig's cabin acts as a modern intervention within its natural setting. Editor: Certainly. The printmaking medium itself lends to the piece's historical weight, referencing techniques used for centuries to disseminate images and influence public opinion. Curator: Precisely. The high contrast pushes the boundaries of legibility, compelling the viewer to actively engage with the composition to decode it. Editor: It’s a great reminder of how artists can make us reconsider familiar structures and their places within a shifting landscape. Curator: Indeed. Doig provides us with a compelling examination of form and perception.
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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.
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