Liz Magor’s sculptural work has long explored the ontology of familiar objects: their physical presences, their psychologies, and how they might convey ideas of class and status. With an interest in both natural and domestic themes, her sculptural works are forms of refuge that also confound the boundary between the real and the simulated.

In her recent body of work, Liz Magor gathers a collection of vintage textiles that have been damaged by moths. Rather than imposing any predetermined ideas onto these objects when mended or altered, she makes space for things to emerge recontextualized. All of these modifications, made in the spirit of rejuvenation, shift the textiles from the domestic realm to that of display. Presenting them in the gallery ensures they will continue to be cared for and given the freedom to continue their cycle of being.

Jeremy Laing makes objects, spaces, and situations for embodiment and relation. Through the synthesis of craft, conceptual, and social modes, their work explores the interrelation and transitional potential of people and things, materials and meanings, and questions the normative logics of who and what matters, is valued, or not.

An object sits in front of a mirror; “vase” is the word we know to describe, or translate, what we see reflected. “Vase” names both the object and its image, but what the object is could perhaps best be understood by an experience of its materiality, and how it came to be. A piece of clay, thrown on a wheel, shapeshifting, turned into a vessel through the concatenation of external constraint and expansive centrifugal force, holding, in its void, a content that is the shaping of itself.

Mirror-vase.jpg consists of new and ongoing works by Jeremy Laing that consider the gallery a vessel – here a vessel for vessels – where, and through each, material and making processes serve as stand-ins for, and conduits to, experiences of personhood.