The doodled flower and genitals aren’t seductive for their subtlety or extension, but for their presence and play around the borders of something else. Hence the initial wink of familiarity in John Schacht’s works on view at Iceberg Projects: not the slow dawning awareness of a form’s luridness but the flashed recognition of, if not this rose or this cock, certainly this type of blossom.
All of Lane’s pieces are formed through their practice with latex. Globular, dripping, and draping, the pieces function both as referents to the human form and sculptural abstractions. Lane shapes this playful indeterminacy to highlight the fragility and grotesqueness of existing with/in a body; wherein people both shape themselves and are shaped by outside forces.
The labyrinth of architecture comprising the neighborhood contained intimate alcoves of acrylic paintings on display salon style and sculptures made of natural materials like metal and wood. Many of these sculptures were meant to personify lwas, “spirits,” in the form of repurposed electronic devices and found objects from the surrounding industrial areas.