Plainly in view but physically inaccessible, Doig half obliterates The Architect’s Home in the Ravine with an underbrush as dense as a half-finished Pollock and the scene becomes foreboding: something out of an Edward Hopper or an Andrew Wyeth painting. With all the richness of the distant woods and the stunning architecture to look at, it’s the twigs which steal the show. Doig’s painting reinvents the way a picture is meant to be looked at.