The user of these strange shapes and shelters becomes aware of a multiplicity of potential functions and experiences contained within the structure that goes far beyond the depths of the image/thing’s surface. In this sense, the mutual interdependence of both architecture/object and the human body/object establish an actual intimacy by not privileging ease of use, but rather the action of use.
The most striking remnants of the area’s industrial activity are the enormous ore walls that still exist within the park, running perpendicular to the lake and looming like ancient geologic monuments. Between the walls are deep green corridors, dense ecosystems of trees, plants, and boulders, birds diving in and out of sight.
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.