Peter Doig: It has to feel like it's meant

Heidi Zuckerman: [sweetly] So what are some of the complications of making a painting?

Peter Doig: [hesitant] -- I don't know . . . For me . . . it has to be convincing . . . that's got nothing to do with good drawing, bad drawing . . . bad painting, good painting . . . it has to feel like it's meant, in a way . . . hard to describe I mean because sometimes that can happen quite quickly . . . sometimes it can happen over a long period of time . . .  it's very complicated . . . I think that as soon as you're shallow it's very apparent . . . have to try harder . . . not got anything to do with hard work or anything . . . it's just like a very very subtle thing, it's not really . . . it's kind of not in tune, it's like, you know, a piece of music even if it's discordant it's right, you know? Very hard to describe. The complications are purely between you and the work.

Transcribed from the fascinating Doig-Zuckerman interview



http://www.youtube.com/watch?v=Hbr28EeTCq8