45. Elizabeth Magill
Portable Landscape (2), 2020
Perspex cube, bronze, oil paint, photography on true grain
20x20x20cm
Copyright The Artist
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b. 1959, Canada; lives and works in London and Antrim, Northern Ireland 1982-1984 Slade School of Art Painting, London, MA 1979-1982 Belfast College of Art Painting, BA Elizabeth Magill's main...
b. 1959, Canada; lives and works in London and Antrim, Northern Ireland
1982-1984 Slade School of Art Painting, London, MA
1979-1982 Belfast College of Art Painting, BA
Elizabeth Magill's main preoccupation has been with painting and in particular with reference to landscape. She is celebrated for her evocative landscapes, which capture atmospheric conditions with great sensitivity: the luminosity of daybreak, or the cool glow of moonlight. The scenes appear to be situated on the edge of urbanity – roofs, streetlamps or telephone wires can occasionally be sighted in the background, but human figures are rare.
She describes her approach as “experimental”, combining photography and printmaking with painting. She uses this genre to explore possibilities within her painting process, playing with notions around constructed worlds, often inspired by the view from her studio in Northern Ireland. These works often elicit an emotional sense of the infinite.
For her Cure3 contribution this year, Magill has once again used the whole of her cube to create a dreamlike ethereal landscape which exudes light through the transparent layers that she has created on two sides of the box. This contrasts with a bronze cast of a small branch of heather, which within the context of the cube becomes like a branch of a fallen tree.
www.elizabethmagill.com
www.kerlingallery.com
Portrait courtesy Jeremy Hughes
1982-1984 Slade School of Art Painting, London, MA
1979-1982 Belfast College of Art Painting, BA
Elizabeth Magill's main preoccupation has been with painting and in particular with reference to landscape. She is celebrated for her evocative landscapes, which capture atmospheric conditions with great sensitivity: the luminosity of daybreak, or the cool glow of moonlight. The scenes appear to be situated on the edge of urbanity – roofs, streetlamps or telephone wires can occasionally be sighted in the background, but human figures are rare.
She describes her approach as “experimental”, combining photography and printmaking with painting. She uses this genre to explore possibilities within her painting process, playing with notions around constructed worlds, often inspired by the view from her studio in Northern Ireland. These works often elicit an emotional sense of the infinite.
For her Cure3 contribution this year, Magill has once again used the whole of her cube to create a dreamlike ethereal landscape which exudes light through the transparent layers that she has created on two sides of the box. This contrasts with a bronze cast of a small branch of heather, which within the context of the cube becomes like a branch of a fallen tree.
www.elizabethmagill.com
www.kerlingallery.com
Portrait courtesy Jeremy Hughes