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Peter Doig is a mix master. The scenes in his prints Paragon and Curious are above all romantic. Lonely islands, mankind in his original state in harmony with nature? If it weren't for the colors. Doig's palette somewhat corrodes the all-too-slick level of meaning – strips the ideal-postcard aesthetic of its shine to reveal the layers below. These are more like daydreams, magically real and a bit mysterious with an imponderable component. Unfathomable are also the influences exacted on the far-traveled Brit. He cites van Gogh, Munch, Edward Hopper, and the impressionists; he mixes painting techniques and takes his motives from wherever he can: from photography, film, and the history of painting with a good helping from his own childhood. It's about the mix, and the mix makes us think about where we stand in the postmodern world, surrounded by symbols and meanings. Often named in the same breath as Luc Tuymans and Neo Rauch, Doig offers statements in the midst of the whir of media branding. His scenerios, what do they show? The peace before or after the storm of meaning?