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In “Style,” Liz Magor presents a sculpted drapery of time. Humble everyday objects—garments, blankets, and plush toys—show signs of age and physical histories.

Sweaters are folded.
A jacket is draped.
A plush toy holding on to a blanket is suspended from the ceiling.
A black dress is hung on a wall.

There is a nuanced mixture of reality and fiction in Magor’s work: the genuine overcoat and the coffee cup cast in polymerized gypsum in Overcoat (2023), the Polyfibre moths that are delicately balanced on a thread in Good Grace (2018) and on wires suspended above Jumpers (light) and Jumpers (dark) (both 2023).

The gaping holes in the wool garments and textiles throughout the exhibition further reveal the trace of Magor’s hands in material manipulation, or alternatively, the artist’s observation of the natural process of decay caused by clothes moths. Interestingly enough, it is the strong and lingering human scent that attracts the larvae of clothes moths. This makes our bodies the triggering mechanism that sets off the entropic process of decay.

Magor’s careful composition of haphazardly placed objects finds nostalgia in the visual details of deterioration and everyday nothingness. Triggered by our own memories and projected narrative, Magor’s “Style” is the gateway to the stories we already know.