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.
In doing so, the artist is sensitive to the natural physical properties of the stones’ veins, textures, and densities. This affects not only the way Hofmann’s stones are shaped toward depiction, using the veins or sediments to persuade the image, but also some sense of shadowing a stone’s life as a particular rock encountered in the field.