Suksi, Lena (2016) Liz Magor. C Magazine (129). pp. 51-52.

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Abstract

This thwarted investigation of the stuff of our world looms in Liz Magor's long body of work: easts of tree trunks stuffed w ith unlikely secrets, blankets repaired and folded. For her, nothing can be altogether handled, much as we might inspect it. What is unknown is an inevitable frustration. That she acheives experience of resistance in an expertly crafted way is poetic. That she works through our mundane surroundings reminds me of more of the close afternoon light of an enigmatic short story. Alice Munro writes experience through minor details, describing, for instance, in "Deep-Holes" (2008), a landscape of champagne bottles, picnic blankets and cellars that nervously supports the untethering of a family. Ultimately, these objects are not catalysts but settings for our experience, advancing and receding in the way of weather and dust. Munro and Magor might agree that our efforts to solve our lives with signs or objects are futile, but that we cannot entirely neglect their delicate impacts. In 2011, Magor produced works called Marks for the City Centre Library in Surrey, BC: big clay ottomans with barely legible evidence of relaxing bodies impressed into their surfaces. This treatment of trace persists in her new sculptures, allowing the effects of the world and ourselves on one another while acknowledging that we get up, that we move on.

Item Type:	Article
Uncontrolled Keywords:	Art, Art exhibits, Museums And Art Galleries, Photography, Sculpture, Visual artists
Date Deposited:	06 Jan 2017 21:54
Last Modified:	02 Aug 2021 08:42
URI:	https://openresearch.ocadu.ca/id/eprint/1347

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