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Veiled Hood # 6,
2014
Cal Lane
Sculpture : metal, glass
47 x 57 x 3 cm 18.5 x 22.4 x 1.2 inch
$24,000
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About the artwork
Type
Unique work
Signature
Signed artwork
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Medium
Dimensions cm • inch
47 x 57 x 3 cm 18.5 x 22.4 x 1.2 inch Height x Width x Depth
Artwork sold in perfect condition
Artwork location: Germany
Plasma-cut car hood
"For the exhibition Veiled Hoods and Stains, Cal Lane combines delicate lacework and discarded steel car and truck hoods to create two series of related works. Traditionally used as a symbol of purity to adorn clerical robes, or to evoke fragility and femininity, lace both reveals and conceals. For her Veiled Hoods (2014), Lane uses a plasma cutter as her needle and thread to cut elegant lace patterns in the steel hoods, connecting the history of labour-intensive craft to the mass production of the contemporary automotive industry.
Lane’s painstaking process, which transforms readymade objects into captivating sculptures, gives the ornate material strength and durability. Whereas hoods are often designed to cover, hide, or protect, the elaborate motifs on Lane’s structures expose the skeletons hidden underneath the appearance of stability. The intricate lacework that Lane carves into the industrial material uncovers the layers of contradictions inherent to her choice of materials. If hoods can sometimes be threatening, such as the ones worn by those who wish to conceal their identity, Lane’s simultaneously veil and expose to disclose the fragility of the steel structure and the strength of the decorative pattern." Excerpt from the text by Sophie Lynch
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"For the exhibition Veiled Hoods and Stains, Cal Lane combines delicate lacework and discarded steel car and truck hoods to create two series of related works. Traditionally used as a symbol of purity to adorn clerical robes, or to evoke fragility and femininity, lace both reveals and conceals. For her Veiled Hoods (2014), Lane uses a plasma cutter as her needle and thread to cut elegant lace patterns in the steel hoods, connecting the history of labour-intensive craft to the mass production of the contemporary automotive industry.
Lane’s painstaking process, which transforms readymade objects into captivating sculptures, gives the ornate material strength and durability. Whereas hoods are often designed to cover, hide, or protect, the elaborate motifs on Lane’s structures expose the skeletons hidden underneath the appearance of stability. The intricate lacework that Lane carves into the industrial material uncovers the layers of contradictions inherent to her choice of materials. If hoods can sometimes be threatening, such as the ones worn by those who wish to conceal their identity, Lane’s simultaneously veil and expose to disclose the fragility of the steel structure and the strength of the decorative pattern." Excerpt from the text by Sophie Lynch
About the seller
Professional art gallery • Luxembourg
Artsper seller since 2017
Vetted Seller
Discover more by the artist
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Presentation
Cal Lane, who trained as a welder before studying art, transforms industrial steel products, like Dumpsters, oil drums, and I-beams, into improbably lacey, delicate works of sculpture. She has been compared to Richard Serra, famous for his propped, torqued, and spiraling steel sculptures. Unlike Serra, however, Lane cuts ornate patterns into the steel, opening up its surface to light and air. Through her work, she challenges gender stereotypes by combining the “masculinity” of steel and welding with the “femininity” of lace-like, decorative patterning. She also produces works with a critical edge. In Fossil Fuel (2009), for example, she cut a map of the world into an oil tank. As she explains, she is drawn to the meanings old objects carry: “They come with their own narrative, a narrative that on some level we can all connect to.”
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