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Cal Lane, ‘Veiled Hood Stain #6’, 2014, Art Mûr
Cal Lane, ‘Veiled Hood Stain #6’, 2014, Art Mûr
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Cal Lane

Veiled Hood Stain #6, 2014

Rust and acrylic on canvas
65 × 82 1/10 in
165 × 208.5 cm
$7,000
Location
Montreal, Berlin
Have a question? Visit our help center.
About the work
Art Mûr
Montreal, Berlin

Price listed is in US dollars

Price listed is in US dollars

Medium
Painting
Cal Lane
Canadian, b. 1968
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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.”

Cal Lane, ‘Veiled Hood Stain #6’, 2014, Art Mûr
Cal Lane, ‘Veiled Hood Stain #6’, 2014, Art Mûr
Save
Save
View
View in room
Share
Share
Save
Save
View
View in room
Share
Share
About the work
Art Mûr
Montreal, Berlin

Price listed is in US dollars

Price listed is in US dollars

Medium
Painting
Cal Lane
Canadian, b. 1968
Follow

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.”

Cal Lane

Veiled Hood Stain #6, 2014

Rust and acrylic on canvas
65 × 82 1/10 in
165 × 208.5 cm
$7,000
Location
Montreal, Berlin
Have a question? Visit our help center.
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