A Japanese print by Toyokuni which Lakich bought in Tokyo in 1984 while installing an exhibition at the Seiko Museum sparked her interest in the form of a hunched ghost figure. But she felt that to use the Japanese figure would be cultural poaching; when she saw the photo of Chuck Berry several years later, it provided the subject.
     Breaking up the two-dimensional surface, recomposing it and incorporating an existing object was a construction technique that she had used earlier on a larger scale in Drive-In. The surprisingly intense values of pastel light in vertical swiggles paying off the metal’s high relief create a figure of compressed vitality.