I’m drawn to buildings as metaphor for system breakdowns – and as opportunities to learn more about how humans interface with the world through architecture. I use neglected structures as my raw material. In this way, I am able to reveal their hidden construction, provide new ways of perceiving space, and create metaphors for the human condition.

I have recently relocated my studio to a vacant warehouse in Baden, MO. The space was evacuated by Triangle Plastics Inc. in 2003, and has sat unattended since. In its current state, the space is filled with the material/technology the manufacturer used for the production of promotional key chains. We all leave a layer of skin on our buildings, and as an artist I am sharing skin with the idiosyncrasies/history of the industrial activity, the working class citizens who carried out the production, and the larger community in which they lived.

HOFFMAN

LACHANCE

CONTEMPORARY

STL

09.2009

S

E

R

I

O

U

S

L

Y

G

A

S

P

I

N

G

*

She made polk-a-dots*

Like dot - dot*

Dot* on her eye*

An' say SHE shy(i)*

*(i) turn her over to look at the best of them*

An' SHE act like SHE shy(i)*

My(i) finger wanna connect them ~ l(i)ke indeX(xx)*

L(i)ke how SHE keep them a secret ~ 

L(i)ke stars keep secrets ~ 

L(i)ke her stars keep secrets till they fall ~

(A+)cross my fingers* 

<3

She Told Me - Make Visible What, Without You, Might Never Have Been Seen -

<3

G

A

S

P

*

Hip-Hop taught me confidence in the face of adversity*

Poetry taught me humility*

Now turn that shit up*

An’ I’ve made plenty of friends on the way to this.

Top-rung?

Like a city runnin’ with its scissors out.

No city too charged.

No treaty two-side.

No city to guard.

I dropped my guard*

I know one things for sure.

We an academy league of rollers here,

I ain’t doing nothing but moving on.

So-s untie my hands.

What’m I goin’ to be?

I walk a tight one.

But, my whole city underwater.

An’ i come up from under that water – and find her –

All-s fresh air*

But*

I can't believe i didn't get a picture of you in that...

Black dress*

Heels on tilt*

Red lips like*

Second coming*

Christ, you were something*

Hey, hey – Robert – can I get that flat-head screwdriver?

AGAIN?

And what about a Newport?

Yo why you always askin’ me for shit?

An’ why’d I see you in Clayton last week-end like an

angel pimpin’ for Hank and his cheese-cake?

Jus cake.

Jus.

Just tryin’ to fix my lawnmower – an’ sew up this dog-bite – an’ get a fresh lline-ing.

Fuck it “B,” let’s walk across to Hardees – I got you,

Frisco*

Traffic hard to dodge on N. Broadway – like Frogger… jus some frogs hope louder than others.

Got new shoes, why you move so fucking slow?

Open door – ohhhhhhh, there you go Bug…

Yo, what’s good with you Ton-?

Jus work – saw your door up, when y’all openin’ over there? Got work?

No, jus a studio - but at least now I’ll always know what side of the gun I’m spose’d to buy the farm from.

The two farm o’cklock kicks – million on this watch –

See, these crew-s have lost they lunches by the hundreds –

I’ve watched the animals divide – like, lack of a marriage between the classes.

Maybe this cocaine music?

shorty played the piano*

she only played my white keys*

an' i watched her synco-paint*

88 on them keys gurl*

get on them keys gurl*

keys gurl*

keys*

gurl*

And your freckled eyes - wet ><

Look - there's a car chase going down at your waist - wet ><

You can do this - wet ><

Wanna see you do this - wet ><

Need to see you do this - wet ><

This is Chicago -

Get that town wet like your hypnotism ><

And you some hype-ism - wet ><

Ism- I, wonder - wet ><

r