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温哥华的艺术家莉兹·马戈尔利用已发现的,通常出自家庭领域内的材料为跳板调研这一客体对社会领域和情感生活的影响。在挖掘它的历史作用与人体的关联之后,马戈尔开始铸模、打造,而后修改作品以探索真实度、复制性、损耗及消费程度等问题。马戈尔的公共艺术作品延续着人们对真实与模仿的争论。她参加过文献展以及悉尼和威尼斯双年展,在加拿大多次举办个展。她最近的个展“嘴与其它仓储设施”首次在美国西雅图亨利美术馆举行,而后移至加拿大不列颠哥伦比亚省伯纳比市的西蒙·弗雷泽大学美术馆。2009年,她获得了代表视觉艺术终生成就的奥登奖。本月,马戈尔将在温哥华的卡特里奥娜·杰弗里斯画廊展览其最新作品。
Vancouver artist Liz Magore exploits the social and emotional life impact of this object that has been discovered as a springboard, often from materials within the home. After digging its historical role in relation to the human body, Magoll began to mold, build, and then revise his work to explore issues of truthfulness, reproducibility, wear and tear, and consumption. Margor’s public works of art continue the debate about real and imitation. She has attended literature exhibitions as well as Sydney and Venice Biennale, solo exhibitions in Canada. Her recent solo exhibition “Mouth and Other Storage Facilities” was first held at the Henry Gallery, Seattle, and then moved to the Simon Fraser University Art Gallery in Burnaby, British Columbia, Canada. In 2009, she received the Auden Prize, which represents the lifetime of visual art. This month, Magoll will be presenting his latest work at the gallery of Cattrona Jeffreys in Vancouver.