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Two daintily feminine but otherwise conversant objects from Cal Lane ’s " Wheelbarrows and Shovels " serial . exposure by : Guy L’Heureux .
The disconnect between pretty and powerful inCal Lane’s“Wheelbarrows and Shovels ” series , in which she etches intent into average garden tools , raises the question : Which side is the creative person on ? lead : Lane makes her pieces using an industrial torch .
grow up in a little town in British Columbia , Lane felt out of place in the feminine atmosphere of her mother ’s haircloth salon . “ I was a woman who want adventure , to get sordid and have a foul mouth , ” she says , impulses that induced her to go to business deal schooltime to become a welder . After several years work out in factories , Lane attended Nova Scotia College of Art & Design , where she worked in a large-minded range of materials : condom , plaster of Paris , rusting , even privy report and toast . “ I did n’t want to concenter so much on one material that it limit my ideas , ” she explain .
But she retain come back to steel , and over the preceding 10 she ’s made her name recreating utilitarian found objects — horticulture tool , rock oil cans , steel shaft , car parts — into fanciful objets d’art pip through with delicate lace patterns and spiritual imagery .
The contradictions in her pieces are on the button the point . “ I care how an old target come up with its own story and place in the culture , ” say Lane . “ I use contrast imaging to show a contrary side . ” Lane ’s late body of work , on show April 28 through June 16 at theArt Mûrgallery in Montreal , applies her lace patterns to analyze ammunition boxes .
Housed in private appeal around the populace , her shovels and wheelbarrows have been shown widely , most recently in December at the 2011 Pulse Miami Contemporary Art Fair . A group of her pieces will be on presentation this summer at Nottingham Castle in England .
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