Cal Lane uses a plasma cutter or an oxy-acetylene torch to cut intricate patterns into industrial steel products.[4]
Lane's work is often described in terms of dichotomy or contrast. Fred A. Bernstein wrote in The New York Times: "The work is about the contrasts between the industrial and the fanciful, the opaque and the transparent."[2] Writing for Sculpture magazine, Robin Peck said: "The dialectic is obvious: industrial versus domestic, strong versus delicate, masculine versus feminine, functional versus decorative."[5] Lori Zimmer wrote: "Lane enjoys pushing the dichotomy of feminine and masculine by combining patterns of domesticity with these cold, harsh symbols of masculine blue collar labor."[6]
^"Cal Lane". Artsy. Archived from the original on 9 January 2018. Retrieved 7 January 2018.
^ abBernstein, Fred A. (30 December 2007). "Turning Steel into Lace". The New York Times. Archived from the original on 9 January 2018. Retrieved 8 January 2018.
^Revere., McFadden, David (2007). Radical lace & subversive knitting. Scanlan, Jennifer (Associate curator), Edwards, Jennifer Steifle., Museum of Arts and Design (New York, N.Y.). New York: Museum of Arts & Design. ISBN9781890385125. OCLC122932136.{{cite book}}: CS1 maint: multiple names: authors list (link)