For Saturday Indesign 2026, we have invited ten artists to transform selected pieces from our collection through their own creative practice, giving familiar Few & Far forms new meaning and expression.
Brittany brings a tactile, folkloric approach to the exhibition, shaped by material, recurring symbols and stories carried across time and culture.
Her practice moves through simple symbols and recurring motifs – suns, flowers, shells and forms that quietly linger in memory – with a particular interest in imagery that crosses time and culture.
A formative year travelling through Mexico and Guatemala with her family deepened Brittany’s fascination with traditional craft and hand-making. Originally trained as a textile designer in Los Angeles, she now brings that attention to material and surface into her painting practice.
Working with thick textured linen, handmade boards, oil paint, wax, plaster and rice paper, Brittany builds tactile, earthy compositions in which figures and symbols seem to hover between memory and imagination.
I was immediately drawn to the shape of the lamp. Given the timeframe, I wanted to choose something I could really dedicate myself to and put as much care and detail into as possible. The sculptural shape of the lampshade also felt like an interesting surface to work with.
The fragility of the fabric meant I had to be really mindful of how I approached painting the lampshade. I had to change the way I normally work, so the whole process felt a little like a gamble.
I usually work on heavy linen, where I can build up layers of paint, sand them back and continue working into the surface. With the lampshade, I felt like I had one shot.
I was surprised by how much paint the fabric could actually take. I ended up building far more layers than I had originally planned to achieve the texture I wanted.
The shape of the lampshade has been the most interesting part for me. It has a beautiful, almost sculptural quality, and I became really interested in how the artwork could work with that shape rather than simply sitting on top of it.
The curved surface meant the imagery could wrap around the form, so the piece changes slightly depending on where you are standing and how you look at it.
I had a general idea of how I wanted to approach it, but the piece definitely evolved as I worked.
I decided to work with sirens and folk-inspired imagery, which felt very natural within my existing practice. A lot of my paintings have a weathered, worn quality, so I was initially nervous about whether I could achieve that same feeling on such a fragile material.
The piece started out much brighter, and through the process I was able to gradually tone the colours down and create a more aged, almost timeworn feeling.
I painted directly onto the lampshade using acrylic and oil paint, gradually layering the paint while being mindful of the fragility of the fabric.
I was also thinking about how the imagery could wrap around and interact with the curved form of the lamp, allowing the artwork to become part of the object rather than simply sitting on its surface.
Mythic. Fluid. Weathered.
SEE MORE OF BRITTANY HERE.
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meaningful spaces, considered design and pieces made to be lived with.
