Val Britton: Intimate Immensity

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Feb. 23 - May. 18, 2013
Focus Gallery

Opening Reception
March 1, 6pm-8pm
All welcome

Download the Exhibition Guide

Read the reviews:
Art Animal
art ltd
Squarecylinder.com

"In The Make" interview and photo essay of Val in her studio. Great read.

Go behind the scenes. Watch Val Britton create her work in the gallery. Click here for video link.

View a slideshow of images from the exhibition. Click on the slideshow link below.

An immersive site-specific installation of collaged works on paper that draws on the language of maps to create imaginary landscapes that depict physical and psychological spaces.

In July 2012 the ICA initiated an exhibition program called Sandbox Projects that provides opportunities for West Coast artists to create and exhibit experimental artworks in the ICA’s Focus Gallery. A curatorial committee assembled by the ICA reviewed thirty six artist submissions and awarded the first Sandbox Projects commission to San Francisco-based artist Val Britton.                                                                

Britton’s mixed media abstractions draw on the language of maps and the exploration of space, abstraction and geography—literal and emotional. She is interested in exploring the tension between chaos and imposed order, the concrete and the imaginary, the known and unknown. For Britton, mapping serves as a metaphor for searching. Collage, drawing, painting, staining, printing, and cutting paper are Britton’s methods for navigating the blurry terrain of memory and imagination.

Intimate Immensity is an immersive collage-like installation that resembles exploded paper road atlases suspended in space. The installation includes large-scale drawings that hang on the wall as well as hundreds of scavenged and recycled segments of paper and meticulously cut paper pieces that hang from strings suspended from ceiling rafters, crisscrossing the space.

According to Britton, much of her work has been influenced by a longing to connect to her father, a long haul cross-country truck driver who passed away when she was a teenager. Based on road maps of the United States, routes her father often traveled, and an invented conglomeration, fragmentation, and abstraction of those passageways, Britton’s works on paper help her piece together the past and imagine parts unknown.

Val Britton received her B.F.A. from Rhode Island School of Design and her M.F.A. from California College of the Arts. Her work is held in public collections including the New York Public Library, the New York Historical Society, and the Library of Congress. She has exhibited her work at Secret Project Robot in Brooklyn, Intersection for the Arts and the San Francisco Arts Commission Gallery in San Francisco, CES Contemporary in Laguna Beach, the John Michael Kohler Arts Center, San Jose Museum of Art, and the Katonah Museum of Art. Her work has been featured in New American Paintings, Sleek Magazine (Berlin), Invisible City (Melbourne), Artweek, Elephant, and The Map as Art: Contemporary Artists Explore Cartography by Katharine Harmon. She has been awarded residencies at the Ucross Foundation, the Jentel Artist Residency Program, the Oregon College of Art and Craft, Caldera, the Millay Colony for the Arts, Recology, and Kala Art Institute. The recent recipient of a grant from the Pollock-Krasner Foundation, she lives and works in San Francisco.

About the ICA’s Sandbox Projects: In the Silicon Valley, technologists use the term “sandbox” as a figurative place to experiment with new code or ideas. In a similar spirit, the ICA’s Sandbox Projects is a program that supports emerging and mid-career artists to experiment, take risks and develop works that would not otherwise be realized. Open to all media, the program encourages site responsive, ambitious, architectural and large-scale works. Recipients are awarded an honorarium to design, create and complete their projects.

Sandbox Projects
is supported in part by a grant from the Applied Materials/Arts Council Silicon Valley Excellence in the Arts grant.





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