Cascading projections of starfields and an ambient backdrop of Pink Floyd’s Dark Side of the Moon set the stage for the debut of Bec Brittain’s freshly launched lighting collection, ‘Aries’, which draws inspiration from celestial bodies and light refractions. Minimal in structure, the series centres on glass prisms placed at each of the vertices of its metal branches. The result is a shower of sparkling refractions – an effect that was in full force on the evening that the collection was unveiled.
To celebrate the launch, the lighting design studio transformed its Flatiron showroom into a deep space vortex, where speciality cocktails like ‘Space Thyme Continuum’ and packages of 'Astronaut' ice cream were served. Like much of Brittain’s work, the collection uses an underlying system that allows for multiple iterations of its geometric armature and various polyhedron.
‘My work has always depended on structural systems more than individual pieces,’ says the designer. ‘This mode of thinking requires a lot of testing, then regrouping – putting something into the world and seeing how it functions both physically and aesthetically.’ The process of getting such systems to completion is a challenge. She adds, ‘And really, there is never a final point, there are always ways to play with the system and the parts to create something new.’
Brittain’s past year has been one of transformation. In addition to becoming a mother, she has also opened her New York showroom, inviting people into her studio and process. ‘That spirit has encouraged me to open the gate up between “final” work and “work in progress” because if there’s one thing I’ve learned this year, there’s not a lot of difference,’ she says. ‘I want to invite people into the thinking and development that goes into the work, and see 'Aries' as it stands. In its current state it is a bit adolescent, beautiful with all its potential, but still working some things out.’