Artist Bio

Becky Borlan is a multidisciplinary artist with a focus on public art, urban space, and landscape interventions. With a BFA in sculpture from New College of Florida, she began her public art career in Boston, where she managed sculptor Janet Echelman’s studio from 2010 to 2013. After moving to Washington DC, Borlan supervised public art infrastructure projects for artist Steven Weitzman. In 2014, she launched B+B LAB to focus on her own art practice.

Moving fluidly between mediums and materials, Borlan seeks to create new hybrids and ways of approaching art-making. She has completed numerous temporary public art installations in the DC metro area, most recently participating in the 2016 Foggy Bottom Sculpture Biennial. Borlan is an artist in residence at the Anacostia Arts Center in Fall 2016, where she will create an immersive installation over the course of two months.

Artist Statement

At the core of my practice is the desire to recognize the potential in the public space that surrounds us, that is typically overlooked or taken for granted. My installations are attempts to activate and appreciate this space, prompting viewers to participate more with the urban landscape they encounter everyday.

I’m drawn to saturated color, geometric shapes and bold design. I use whatever supplies I can get a hold of to execute my vision, often working outside the range of traditional sculpture materials.

The sculptures I create are experiential, immersive and whimsical. Through a combination of material and scale I encourage people to reconsider the way they perceive the mundane and fantastic elements in their lives.

Becky Borlan’s “Bricks” reflects the history of masonry in Foggy Bottom. Bold and colorful, the piece depicts a brick wall, albeit one made entirely of transparent acrylic.
The work — called “Too Much Is Never Enough,” after the title of Lapidus’s autobiography — is meant to be fun, not heavy, Borlan says. “I think [Lapidus] really, really believed that phrase,” she says. “He gilded the lily, and then he added another bouquet.”
My technique is more fluid. Depending on the project, I’m either responding to a particular site or material, sometimes both. So I try to let that guide the creative process. With public art, there are usually certain constraints inherent to the situation, and I actually enjoy figuring out how to work within them because it keeps me on my toes. It forces me to look beyond the obvious answers.