Since the mid 90s Magill has been primarily concerned with landscape painting. At first, her interests focused on the representation of rural idylls created from a combination of personal snap shots and images appropriated from television or printed media. But the form of the work is equally a product of process as it is of appropriation with the paintings being returned to and developed over considerable time.

The places depicted seem as if on the border of memory - half remembered - perhaps from childhood, perhaps fictional. There is a deeply romantic resonance to the works which is enforced by the fact that they are located in half light, the end or the very beginning of the day, when the colours can seem at their most unnatural and forcing us to strain to see. This combined with the intentional ambiguity of location pulls the work towards an idealisation of painting, and pushes them towards an uncanny sublime.

More recently Magill has taken her landscapes physically closer to the built environment, but they are located at the edge of our intervention with the land - in the no-mans-land of motorways, electricity pylons, broad vistas at the outskirts of towns.

Elizabeth Magill showed new work for the intimate viewing space at Peer.

Forthcoming exhibitions include The Glen Dimplex Award exhibition at the Irish Museum of Modern Art, Dublin, May - Autumn 2001. She is represented by Kerlin Gallery, Dublin.

A catalogue from Magill's solo exhibition at Southampton City Art Gallery, 1999 is available with an essay The Lie of the Land by Caoimhin Mac Giolla Leith.

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Time Out review