A poster designed to accompany an exhibition of the same name, presented by the Royal Canadian Academy of Arts, 2026. Weltformat size, 128 × 90.5 cm (50.3 × 35.6 inches), ink jet. Design by Robert Tombs.

“Following her sculpture studies, which include a Bachelor of Fine Arts from Nova Scotia College of Art and Design (2001) and a Master of Fine Arts from State University of New York (2005), Lane has developed her practice and exhibited widely, in Australia, Belgium, Canada, England, France and the US. She has notably received wide attention for her deconstruction of a series of mostly steel and iron industrial objects — including shovels, wheelbarrows, oil drums and a car wreck — but also replicated scaled-up lingerie — which she manually transformed with blow torch cut-outs to create transformative lace-like tracery that she placed in gallery settings under dramatic lighting.

Of her Cambridge Art Galleries exhibit Industrial Intimacies (2026), Gil McElroy has written that Lane “ably demonstrates how she takes objects and materials of purpose and utility, mostly guts them of those factors, and turns them aesthetically inside-out.”  Through the opposing binaries of what sculptor Robin Peck has called “industrial versus domestic, strong versus delicate, masculine versus feminine, functional versus decorative,” Lane’s tactics conspire to unfix the accepted truths of the world around us.”

> Robert Tombs, curator