Peter Doig Quotes

The use of the term art medium is, to say the least, misleading, for it is the artist that creates a work of art not the medium. It is the artist in photography that gives form to content by a distillation of ideas, thought, experience, insight and understanding.

I try and take the photographs and paintings and make them real. And the real video we treat as paintings. We flip the reality.

I don't see myself as a photographer. I still see the photographs and collages as a resource for the painting.

How our old friend [Michelangelo] of the Sistine would have loved to photograph his workers, perched on the fragile planks. Dali was right to say Leonardo only worked from photographs.

Then you learn about composition, you learn about old masters, you form certain ideas about structure. But the inhuman activity of trying to make some kind of jump or leap, where , the painting is always saying, 'What do you want from me? I can only be a painting.' You have to go from part to part, but you shouldn't see yourself go from part to part, that's the whole point.

Abstract art is only painting. And what's so dramatic about that? There is no abstract art. One must always begin with something. Afterwards one can remove all semblance of reality; there is no longer any danger as the idea of the object has left an indelible imprint.

I was never the kind of painter or sculptor who kept a shop.

I do not consider myself at work unless I am before a six-foot canvas.

We're making so many images today and it's unbelievable. I shoot stuff all the time. I try to figure a lot out before I paint. I do a tremendous amount of shooting.

If I had been born one or two hundred years ago, I might have been a sculptor, but photography is a very quick way to see, to make sculpture.

We have lit upon the gentle, sensitive mind And lost the old nonchalance of the hand; Whether we have chosen chisel, pen or brush, We are but critics, or but half create.

Rene Char wrote somewhere, apropos poetry, that there are those who create and those who discover; they are too completely different worlds. Photograph also has two sides to it and thank goodness, I am only intersted in those who discover; I feel a certain solidarity with those who set out in a spirit of discovery; I think there is much more risk invovled in this than in trying to create images; and in the end, reality is more important.

My favourite stuff is visual, and I always want to work with visual artwork. I think it depends on the person, but for me, photographs of an image of something interesting or inspiring is worth a lot more than words to me. I think every concept I've come up with and turned into films or that will be hopefully become a film comes from images first.

My thing is about following the accidental, more than trying to paint an accurate bowl of apples. I enjoy most following the paint. It leads me somewhere else. I think I enjoy just letting the magic unfold and letting the spirit of the paint tell me where we're going.

There comes a moment when it is no longer you who takes the photograph, but receives the way to do it quite naturally and fully.

An actor should take lessons from a painter and a sculptor.

And that desire-the strong desire to take pictures-is important. It borders on a need, based on a habit: the habit of seeing. Whether working or not, photographers are looking, seeing, and thinking about what they see, a habit that is both a pleasure and a problem, for we seldom capture in a single photograph the full expression of what we see and feel. It is the hope that we might express ourselves fully-and the evidence that other photographers have done so-that keep us taking pictures.

For me painting is a dramatic action in the course of which reality finds itself split apart

All paintings start out of a mood, out of a relationship with things or people, out of a complete visual impression. To call this expression abstract seems to me often to confuse the issue. Abstract means literally to draw from or separate. In this sense every artist is abstract . . . a realistic or non-objective approach makes no difference. The result is what counts.

What moves me about...what's called technique...is that it comes from some mysterious deep place. I mean it can have something to do with the paper and the developer and all that stuff, but it comes mostly from some very deep choices somebody has made that take a long time and keep haunting them.

I enjoyed learning something and, uh, so I think like with anything in life, in the schoolroom in an artistic endeavor, if you have just a really good teacher, it's inspiring. I certainly use, in my work, I mean, I used to rely heavily on imagery. I was obsessed with this photograph that was in the NY Times of a fish engulfing a smaller fish and this smaller fish had this look in its eyes; it knew what was about to happen and, I don't know how they ever captured such an image, but I've used that for a play I (did). It's called "Saved."

More important than having a romance with the object that I'm drawing, is to have a romance with the mark that I am making.

Stothard learned the art of combining colors by closely studying butterflies wings; he would often say that no one knew what he owed to these tiny insects. A burnt stick and a barn door served Wilkie in lieu of pencil and canvas.

This beginning with Audacity, or being thrown into the middle of it, is already a very great part of the art of painting.

Right now a moment of time is fleeting by! Capture its reality in paint! To do that we must put all else out of our minds. We must become that moment, make ourselves a sensitive recording plate...Give the image of what we actually see, forgetting everything that has been seen before our time.