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Two daintily feminine but otherwise familiar objects from Cal Lane ’s " Wheelbarrows and Shovels " series . picture by : Guy L’Heureux .
The disconnect between pretty and powerful inCal Lane’s“Wheelbarrows and Shovels ” series , in which she etch designs into average garden tools , raise the enquiry : Which side is the creative person on ? Hint : Lane makes her pieces using an industrial blowtorch .
turn up in a small town in British Columbia , Lane felt out of place in the feminine atmospheric state of her female parent ’s hair salon . “ I was a woman who wanted adventure , to get dirty and have a ill-scented mouth , ” she say , impulses that induce her to go to trade school to become a welder . After several years work in factories , Lane attended Nova Scotia College of Art & Design , where she sour in a broad range of cloth : arctic , plaster of Paris , rust , even commode paper and toast . “ I did n’t want to focus so much on one textile that it limited my ideas , ” she explains .
But she kept come back to sword , and over the retiring decade she ’s made her name recreating utilitarian find objects — gardening tools , oil cans , steel beams , car component part — into notional objets d’art shot through with delicate lace patterns and religious imagery .
The contradictions in her piece are on the button the item . “ I care how an old object come with its own news report and place in the cultivation , ” says Lane . “ I use contrasting imagery to show a adverse side . ” Lane ’s modish workplace , on display April 28 through June 16 at theArt Mûrgallery in Montreal , applies her lace rule to dissected ammo boxes .
Housed in secret collections around the globe , her shovelful and wheelbarrow have been shown wide , most recently in December at the 2011 Pulse Miami Contemporary Art Fair . A group of her piece will be on show this summertime at Nottingham Castle in England .
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