Landscape seems an almost universal language – natural and incontestable, yet Elizabeth Magill mines away at its very seams, re-configuring and re-positioning symbols and styles and toying with received understandings of geographies – her work seems precariously located yet finely balanced. Places half-remembered but instantly recognisable.
Beckett once said of Joyce that his writing is not about something, it is the thing itself, maybe that’s how best to approach these works. Her deconstructive tendencies manifest themselves both formally and imaginatively constantly repositions the viewer and exploring the codification of painting and what it means to make pictures today.
In her most recent exhibition Quasi Real and Branch-Like at Wilkinson, London the large work Dendriform 10 further articulates her painting process by transforming and abstracting the subject. Thick coverings of paint mark the surface, manifesting in heavy interconnected structures that fill and visually stretch the canvas to all its dimensions. The marks begin as branch-like structures but can quickly take on alternative shapes or meanings, perhaps found in neurological pathways reminding us of the interconnected web-like activities of our daily lives.
Elizabeth Magill lives and works in London and is represented by Wilkinson Gallery, London, and Kerlin Gallery, Dublin. Magill’s work was first featured in the 90’s with solo shows at Arnofini, Bristol; Southampton City Art Gallery, Southampton and Dublin City Gallery The Hugh Lane, Dublin. Magill had a solo touring exhibition at Ikon, Birmingham; BALTIC, Gateshead; MK Gallery, Milton Keynes and Glynn Vivian Gallery, Swansea (2004-05).
Group shows including Green Light Wanes, Towner, Eastbourne (and touring), 2011; Land-scape, HITE Collection, Seoul, South Korea, 2012; Time out of Mind, IMMA Dublin; The British Art Show 3 and Primio Michetti 2000.