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Brittany Sondberg

Martin's Collection


Brittany Søndberg's sculpture "Daybreak" is a beacon of hope in Martin's battle with cancer and a jewel in his collection. The open steel form, delicate yet resilient, reminds us of life's balance between fragility and strength. Each day holds profound significance for cancer survivors, and "Daybreak's" red steel encapsulates this sentiment. That's why we've developed Daybreak limited edition gilcée prints and wearable art.


A drawing of a pomegranate with the words daybreak written below it

Brittany's Lab

Daybreak Gallery

Daybreak looks different at different times of the day or night. Here are a few pictures of Brittany's inspirational sculpture at Martin's tiny house.

A red sculpture in a field with a house in the background
A red sculpture is lit up in the dark
A red sculpture is lit up in the dark
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Commission A Søndberg

When you commission a sculpture from Brittany Søndberg, the sculptor who created "Daybreak," you become a champion in the fight against cancer. Inspired by "Daybreak," Martin Smith created AtCures to support artists like Brittany and help cure cancer. By owning a Søndberg original, you join a community of art lovers making a difference, fueling the search for a cure, and bringing solace to those navigating cancer's challenges. Your support is invaluable and empowering.

Brittany's Website

Wearable Art

Brittany's store contributes 10% to cancer research + Martin's Match.

Contact Brittany

Want to commission Brittany or ask a question? Here's how to make contact.

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LOCATION

Greensboro, NC

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WEBSITE

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 CONTACT

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Formal Impulse

artist statement

 In much of my sculpture, I intuitively construct, carve and manipulate material, using formal considerations and impulse. I create emphasized points of tension, bizarre connections and specified forms, as metaphors for psychological/emotional balance, memory and different relationships with(in) the past and present. Currently, I am using mixed materials along with steel, in particular, wood, textiles, plaster and ceramics. I have been experimenting with mark-making on the surfaces of the wood, clay and steel by means of etching, painting and burning, to further define the forms.



Although my work appears largely non-representational, it does orbit a consistent theme. Certain forms and shapes that teeter on the familiar become personally symbolic and I often repeat them in many pieces. I also like to think of the material, the actual matter I manipulate, as a metaphor for how our memory and recollection of memory can change each time we enact it.