JOANNE LAWS INTERVIEWS ELIZABETH MAGILL ABOUT HER PAINTING PRACTICE.
Joanne Laws: Can you describe your studio setting and your painting routine?
Elizabeth Magill: My studio is in a complex with other artists run by the organisation ACME in East London. It’s a 700-square-foot white cube with light coming in from the south and looking onto Mill Row, a narrow one-way street shadowed by a four-storey brown brick and grey concrete block of council flats, built in the 1970s. I’ve been here for a long time, so I’m used to this view. I like its low-level visual interference. I also have a smaller workspace on the Antrim coast, but when I’m there, I just seem to stare at the beautiful views overlooking the sea. My routine is intermittent, as I am often running around doing other things. I’ve had more condensed studio periods in the past, when I’d work for at least six days a week, sometimes working all day and into the night, but this isn’t me anymore. Continue reading “Biographical Landscapes”
RAMON KASSAM PRESENTS A SURVEY OF CONTEMPORARY LANDSCAPE PAINTING IN IRELAND.
The 1920s and 30s saw an extraordinary increase in the popularity and production of landscape paintings in Ireland. Paul Henry and Jack B. Yeats, who are currently being exhibited side by side in Limerick’s Hunt Museum, were two of the major protagonists of that era. In contrast, European painting at that time was in the throes of Modernism, producing aesthetic innovation after innovation, which was largely self-analytical and retreating into its own flatness. Such concerns seemed secondary for many Irish artists, which would suggest that motivations were being shaped by different factors. These artists did engage in self-reflexive processes, but did so with the aim of exploring identity politics, with landscape painting becoming an important vehicle. The case is usually made that the prevailing subjects and sensibilities in Irish painting emerged as a result of post-independence Ireland’s distrust of Modernism, as well as the conservative social values asserted by the church and state. However, the precedence placed on landscape as a subject can also be perceived as the result of the newly-formed, post-colonial position of Irish artists. In this way, painting the landscape can be understood as an act of repossession, a reclaiming of territory and culture.
Continue reading “Landscape and the Built Environment”