Liz Magor is a Canadian artist who lives in Vancouver. She began exhibiting her work in 1973 and has been included in numerous prestigious international exhibitions such as the Venice Biennial, Sydney Biennial, Documenta VIII in Kassel, and inSITE in San Diego/Tijuana. While she is widely known across Canada and beyond, this was Magor’s first solo exhibition in a public gallery in Vancouver in a decade.
Magor is primarily recognized for her sculptural work – although she has developed significant projects in other mediums such as photography – which is expressed in various forms ranging from full-scale installations to individual pieces. Stores presented her most recent sculptural work and incorporated non-traditional materials such as silicone rubber and pigmented plaster and resin. With these materials, she made casts of objects with startlingly realistic results. However, while the large pile of rocks placed on the floor is convincingly real, the discovery of actual junk food stashed within its hollow cavity renders the mantle of reality questionable, bringing forward a focus on the work’s materiality.
Magor’s sculptures at first resemble literal, easily accessible representations, but the play between what is real and what is an illusion, and the curious combination of food with other unrelated objects, complicate their apparent simplicity. The minimal yet evocative presentation suggests narratives and the activity of unknown personae obsessed with squirreling things away as insurance against anticipated disasters or shortages. It also implies larger social/psychological issues about the relationship between the desire for security in the face of unidentifiable fears, and the fundamental question of what people store away and why.
This book was published in conjunction with the exhibitions Stores presented at the Contemporary Art Gallery from February 26th to April 8th, 2000, and Deep Woods, presented at the Art Gallery of York University from May 28th to September 24th, 2000. This publication contains texts by Nancy Tousley, Lucy Hogg and Reid Shier.
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