Country-rock (wing-mirror) is a prime example of the mood which Doig has forged in his painting: an ethereal but tense otherworldliness that suffuses his subjects with a muted numbness. In the planar composition, in the thin texture of the paintwork, and in the suggestion that their scenes may continue beyond the limitations of the canvas, Doig’s works are overtly dreamlike. They are surreal, if not in the semiotic psychoanalytical sense, then in that sense of a blanketed half-remembered detail. So often, when we experience a sense of misplaced familiarity, we attribute it to a dream. With this mundane and universally recognised highway setting, Doig imparts that same sense of familiarity into his work, and from it we make the same attribution: that this is not a work of memory, but rather a dream transposed.