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ボワっとした暗い木の影の向こうに、グリッドのユニテ。
アプローチの設定が引き立てる。
SAATCHI:
Peter Doig’s paintings of Le Corbusier’s classic modernist apartment block offer a mysterious Utopia: cosmopolitan dream architecture nestled in (or imprisoned by) tangling wilderness. In Concrete Cabin, it’s the nowhereness of the scene which is strangely uncanny: the bright minimalist grid of the building beaconing through the dark shadows of the trees; an everyday glimpse from a suburban sidewalk twisted into something magical; a set from a contemporary fable. Peter Doig paints this scene with chimerical effect; cropping the image to exclude ground or sky, it has no physical orientation or weight, only the intangible presence of a fleeting moment. |
| ..2013/08/06(火) 13:24 No.3464 |
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Re:アプローチ_The Architects Home In The Ravine ..t
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辿りつけなさ、迂回の予感、すべてアプローチの問題として。
Plainly in view but physically inaccessible, Peter Doig half obliterates The Architect’s Home in the Ravine with an underbrush as dense as a half-finished Pollock and the scene becomes foreboding: something out of an Edward Hopper or an Andrew Wyeth painting. With all the richness of the distant woods and the stunning architecture to look at, it’s the twigs which steal the show. Peter Doig’s painting reinvents the way a picture is meant to be looked at. |
| ..2013/08/06(火) 13:30 No.3465 |
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