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Peter Doig (Scottish, b. 1959) has become one of the most influential and critically acclaimed painters living today. Much of his work re-appropriates the vast and wrought history of painting through rich renderings of alternative scenes, rich with both romanticism and highly evocative of imagery and trends of contemporary culture. This ambiguity is powerfully mirrored in Boiler House, in which resonates Doig’s deep and complex emotional relationship with the Unité d’Habitation of Briey, in Northern France, one of Le Corbusier’s last Modernist Projects of social housing. Nestled in the middle of the woods, Briey’s apartment blocks were inaugurated in 1961, but quickly unravelled and were abandoned by 1973. In the early 1990s, the first floor of the Unité d’Habitation was occupied by artists, designers and architects attempting to restore and breathe new life into what was once the recipient of great post-war utopian hope; and Doig himself was involved with the project.