Hollow

1998-1999

[I was] thinking that a sleeping bag is literally a defense device, but it’s not good enough, it’s not hard enough. With Hollow, the conflicting sense of the shell and the mass is really where the work pivots. I install it so it looks like a log you don’t see at first that it’s just a shell. It’s important that it appears as if it has a lot of mass and weight. I’m trying to set up a perceptual system that I hope the viewer carries to the act of looking at other things… Burrow is similar, but I made it more like an armour, like a body suit. Defense feels good. It feels good to be protected. But if you imagine yourself inside the armour, you’d feel a little uncomfortable. The end of the sculpture is just sliced, a flat, shiny thing.

Cheryl Meszaros and Marie Lopes, An Interview with Liz Magor, Vancouver, Vancouver Art Gallery, 2002.

Polymerized gypsum, textile, foam
182.8 × 106.7 × 121.9 cm

Collection of the National Gallery of Canada, Ottawa
Purchased in 1999
Photos: Richard-Max Tremblay