A retrospective-event: The most influential Canadian sculptor of the last thirty years.
For more than 40 years Liz Magor has been questioning the infra-ordinary, the triviality and modesty of everyday life, the compulsion of our society to buy, accumulate, then forget, and our intimate relationship to objects. To discover her work is to enter a silent world populated by familiar objects that seem to carry the eloquence of their experience, the patina of use and the mark of a recently passed time. "Seems", for her sculptural search slips precisely into the encounter between the field of reality-with the recourse to objects that have fallen into disuse, taken from everyday life-and the simulacrum and illusionism of objects minutely elaborated in a mimetic ratio. Thus, sculptures of objects such as towels, clothes and dishes are intimately articulated with real things: cigarettes, beer and bottles of alcohol, generating a confusion between the production of the workshop and the manufactured items. The disorder born of this perception makes it possible to reorient the relationship between things and finally their relationship with ourselves.
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