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In 1990, Peter Doig had just finished an MA at Chelsea School of Art and as a winner of the Whitechapel Artists Award was on the cusp of recognition. He was producing paintings that beat a path away from the mainstream: 'In the late 1980s and early 1990s most art had a clean, contemporary, slick look … I purposely made works that were hand-made and homely looking.' Distinctive Doig territory is staked out in 'Hill Houses', a frosty mirage that whiffs of narrative and memory, beckoning beyond the unframed canvas to something as un-contemporary as Monet's 'Water Lilies'. This is a picture whose scattered focus and jumps in perspective result in what Richard Shiff identifies as a 'sensation of roaming'. Through the mistiness, the view takes us by surprise, as if swooping into the windscreen of a car as it races over the skyline.