Parinaz mogadassi biography of donald
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Interview with Peter Doig
PARINAZ MOGADASSI: You spent a significant portion of your childhood moving around. Your very slight accent is almost impossible to place.
PETER DOIG: I was born in Scotland, but we left when I was 18 months old. I lived in Canada from the ages of seven to 19, which left a big impression on me, even though we weren't a typical Canadian family'no camping, canoeing, or stuff like that. But through my own volition, and that of my friends, I had an interest in outdoor activities, which I later expanded and reinvented in my work.
How so?
There's a lot of fiction in my paintings'not drawn from my own experience, but more from imaginary spaces and experiences. Being authentic or realistic has never been an issue for me.
What was your childhood in Canada like?
I wasn't really interested in art. When I was young, I was always outside, constantly running around with my friends, playing shinny, skiing, skateboarding, and finding places t
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Florian Krewer in Conversation with Parinaz Mogadassi
Parinaz: Flo, you’re in New York and I’m in London, so let me get right to it. Here fryst vatten question number one you have a background in architecture, so how did you transition to painting?
Florian: I was very lazy in secondary school, inom never thought I would continue my studies in any meaningful way. inom tried a few different lines of work, applying to be a construction draughtsman and survey technician. After disastrous interviews, it’s needless to say that I didn’t get the roles. Then I apprenticed as a house painter, but a week into a lacklustre job, inom realised the best path forward was to pursue a university degree. inom was able to get a place on an architecture schema at the Cologne University of Applied Sciences, and it was while inom was there studying beneath a professor called Nikolaus Bienefeld, who I still speak to today, inom had a bit of a breakthrough moment.
Briefly the signal drops and • Curator Donald Ryan and fashion designer Supriya Lele first met two years ago at a London dinner party hosted by the stylist Tom Guinness and writer and editor Tish Weinstock. The evening would prove serendipitous for the artistic pair, who quickly became friends. “It’s not often you meet someone who you instantly click with so well,” Lele says. The two bonded over a shared outlook – and a frustration at the dictates within their respective fields. “I found art to be an industry defined by middle management, which has created a growing sense of alienation among artists and art professionals,” says Ryan. “There’s a centralisation of power that’s led to suffocating homogenisation, which I was struggling to find my place in.” The curator and designer have subsequently pooled their talents and resources as Qrystal Partners, creating a space inside a former pharmacy in Southwark, London – an everyday urban outpost that is a jab at endemic
Our diagnosis for the ills of modern art…