Peter Doig
The New Yorker
23 October 2017

A lush seascape titled “Two Trees” commands the first room of the Scottish-born, Trinidad-based painter’s new show.  Its mauve sky and rippling aquamarine expanse collapse the mythic and the quotidian, as fantastical purple-trunked trees share the scene with three ghostly figures, one of which trains a video camera on the others.  Also on view is a salon-style installation of smaller works, many on paper.  A bather in red trunks is a recurring motif, as are lions, which appear in lovely charcoal studies and pastel drawings, and also on canvases.  Throughout, Doig eschews thematic coherence, throwing wild-card abstractions and figurative one-offs into the mix – a dreamy world in which bright fragments carry as much weight as cinematic vistas.