The scene in ‘Road to Zermatt’, the fourth of six prints in Peter Doig’s ‘Zermatt’ (D1, 2022), conjures a non-specific memory of commuting to the ski slopes. In the foreground are two skiers, perhaps in conversation as they walk, set against a faint background which captures a house or resort on the left and a giant tree on the right. The banality of the scene is further emphasised by the woman pushing a pram. The improbably large white blots of thickly overlaid colour that cover the image stand for falling snow, clouding the view just as time and repetition can cloud memory.