The De La Warr Pavilion’s Artist Critique Group is an opportunity for artists from the local area to share knowledge, support and network with others in a creative environment, led by DLWP Curator David Rhodes.
Following the success of Twelve by Six last Christmas, where the group exhibited in an empty shop in Bexhill, some of the group have created Navigate – an Art Trail around the town as part of Coastal Currents 2013. 20 artists will exhibit in shops, Bexhill Museum, churches, Bexhill Library and hotels. The work will range from paintings, sculptures, installations and live performance.
The artists are: Judith Alder, Tom Banks, Ben Browton, Claire Buckley, Rachel Cohen, Martin Everett, Jaye Ho, Penny Hobson, Glenys X Jacques, Louise Kenward, Beatrice Lacey, Paula MacArthur, Doreen Munro, Anne Parfitt, Fiona Pienkowska, Sass Tetzlaff, Sheridan Quigley, Frances Viner & Patrick Kealey, Jean Davey Winter and Clare Whistler.
The shops include the following:
Ark Lettings, Sackville Road
Newsmart, Western Road
St Barnabas Church, Sea Road
@Home, Western Road
St Michael’s Hospice Shop, Devonshire Road
Bexhill Library, Western Road
Luggage Plus, Western Road
Cooden Beach Hotel, Cooden
A flagpole on the sea front
Music’s Not Dead, Devonshire Road
Flagpole on the sea front
Bexhill Computer Repairs, St Leonards Road
De La Warr Pavilion Terrace
De La Warr Pavilion Foyer
Steven’s Tobacconists, St Leonard’s Road
Timbelina’s, St Leonard’s Road
Douglas Mercer & Son, St Leonards Road
The Phone Call, Western Road
Premier Travel, Western Road
You can download a map of the Bexhill Art Trail here soon
Jaye Ho on a Rother council flagpole, Metropole Lawns/Jubilee walk
The Little Ships of Dunkirk were 700 private boats ordered by the British Admiralty to take part in Operation Dynamo – the rescue of more than 338 thousand British and French soldiers stranded on the beaches at Dunkirk during WW2. 25 years later, the Association of Dunkirk Little Ships (ADLS) was formed, and soon after, the house flag was designed to be proudly flown by member ships.
‘In dedication to the unknown Little Ships of Dunkirk’ comprises of the ADLS house flag made up from bed sheets. The sheets come from charity shops to represent the collective charitable will during Britain in crisis. In addition, the sheets as non-standard flag material represents the non-standard vessels of the Little Ships.
Jaye says: “It is well documented that ships from Hastings were used in Operation Dynamo. But as to whether ships from neighbouring Bexhill were used remains unclear. This work is dedicated to those vessels who took part in the Dunkirk evacuation that remain unknown. I am grateful to ADLS who has allowed me to use their house flag for this piece. Should anyone have any information about Dunkirk Little Ships and Bexhill I would be interested to hear from them. Please send an email firstname.lastname@example.org
Penny Hobson in Music’s Not Dead, Devonshire Road, Bexhill
“My piece is entitled Abstraction in the Landscape and consists of five 6″x4″ canvas blocks, hung in a line.
The piece comprises a diptych [moody sunset over the sea] and a triptych [huddled sheep on the South Downs], but has become integrated to form a ‘cinqtych’, where the clouds line up with the outline of the downs.
The photographic method is Lith printing, the originals having been produced in the darkroom with special Lith solution and paper. The results are rich chocolate/sepia tones producing timeless images. The original photographs were digitally scanned and split before being printed onto canvas and wrapped onto wooden blocks.”
BAND OF GOLD
Patrick Kealey and Frances Viner in the cinema, Western Road
The Old Cinema in Western Road, Bexhill is being transformed into a theatrical bridal emporium where we want to hear your wedding stories. Tell us about the big day you’re dreaming of, the best day of your life or the one that didn’t deliver. Rave or rant, we want to hear them all. And look out for spontaneous performances at the Cinema throughout Coastal Currents fortnight. In collaboration with the community and its performers we are creating a wedding procession and performance inspired by your stories Saturday 5th October. The performance will take place in a Limo that will drive around Bexhill. The Limo will depart from Bexhill Cinema at 10am, 11am, 12pm, 2pm and 3pm. Tickets for this will cost £5 and include a glass of bubbly. Tickets are available from De La Warr Pavilion box office.
Louise Kenward Bexhill to Bexhill in Bexhill Museum, Egerton Road
A journey by train connecting Bexhill and it’s namesakes in Australia and Canada (with a nod to Annie).
Louise Kenward leaves Bexhill, UK in September to embark on an adventure to cross the path of the Victorian traveller, writer and collector, Annie (Lady) Brassey. With strong connections to Bexhill and it’s museum, Annie has woven her way throughout this project. While Lady Brassey travelled extensively by yacht (most notably the Sunbeam), Louise will take a route by rail, as far as is possible, with reference to Annie’s father in law, Thomas Brassey and his links as a major rail contractor around the world. Connections with the Brassey’s in Australia and Canada are extensive. Louise’s journey will build on her research as an artist, finding links between Bexhill’s namesakes, as well as unearthing the history of each locality. Time as artist in residence at Bexhill Museum will complete the journey, with an exhibition of findings in Autumn 2014. The project can be followed on Twitter, Facebook and at www.bexhilltobexhill.com.
Anne Parfitt in her caravan studio on DLWP Terrace
Anne is currently making small sculptures using ornamental figurines bought from charity shops, and unfired crank clay. Anne is interested in bringing these two elements together as they are completely opposed to each other in their physicality and associations. The clay, which Anne barely works, is heavy, dirty, coarse, and fragile (it disintegrates if unfired), conflicting with the refinement and permanency of the figurines. This creates a sense of dissonance for the viewer and subverts the kitsch sentimentality of these objects.
Sass Tetzlaff in Thimbelina’s, St leonards Road
I use a dense form of machine embroidery in addition to appliqué and paint to render an image. I am curious about the way human beings interact with each other either as individuals, families or as groups or “bodies”, how their beliefs, wishes and preconceptions impact on each other and the chain of events that can ensue from seemingly meaningless encounters, habits and jobs. I respond to statements in conversations, newspaper reports, personal research, social quirks and interesting images that come my way. Sometimes I just do things that make me smile.
Ben Browton in St Barnabas Church, Sea Road & Newsmart, 52 Western Road
(1) TOXIC KaLiMBaH (Trinity) 2010 – 13 - St Barnabas Church, Sea Road
Rather like a Russian doll or an onion, this three-part work centres around a kernel, this being a found and restored model thumb piano or kalimba. Also displayed are the casket that Ben Browton constructed for the instrument, and the carrying case that protects the other two.
Music that Ben Browton composed on the TOXIC KaLiMBaH may be heard at; http://soundcloud.com/toxicneb/toxic-kalimbah-refrain-27th
(2) TOXIC TIMES Dervish say; “Work for the Passerby” 2013 - Newsmart, 52 Western Road
Digital prints featuring the image of a sculptural maquette, the TOXIC Dervish, that Ben Browton produced in 2012.
The Dervish will utter a different pithy maxim every day of the Navigate show. Features a classic re-customised Billwire A-Board as used traditionally by newsagents far and wide to broadcast the latest headlines of concern or common interest.
Paula MacArthur in Bexhill Cinema Foyer, Western Road
MacArthur is currently working on a series of large scale canvases based on gemstones photographed in the Natural History Museum. In the museum context these gemstones are presented as scientific specimens, yet it is impossible to escape the monetary and symbolic value we all give to these perfectly polished fragments of crystal.
MacArthur works instinctively and spontaneously, the intense saturated colours form abstract passages. From a distance brush marks and trails of running paint are invisible and the paintings appear quite photographic but the images deteriorate as the viewer approaches, enlarged a thousand times these jewels transform into cosmic bodies; we can get lost in this other-worldly space finding imagined pareidolia.
Martin Everett in Cooden beach Hotel, Cooden Sea Road
“Wrabness / pis aller”
Pis aller (n). A makeshift, something that will do for the lack of anything better.
These structures have been in the collective family memory for decades. Existing as they do on the mud banks of the Stour Estuary, next to the ports of Harwich and Felixstowe in Essex. They observe and contain a timeless quality of semi-permanent inhabitants and cling tentatively and precariously to the foreshore.
Built largely after WWII by workers brought in to assist the re-building of large parts of the neighbouring areas, without plans, or planning permission and with only the available materials to hand, it is at once both a real and un-real miniture city where “all that is solid melts into air”.
Geometry struggles to appear against the sea, tide and land surveyed. All surrounding elements are encompassed and nothing on earth lies beyond measurement.
Our sense of time as human beings is limited to 70 or 80 years but all these landscapes are spread over a cosmic or geological perception over time. Some of these scenes are decades of years old; they bear with them the memory of all previous events and at the the same time maintain a certain silence that is romantically impenetrable. The work is trying to make the landscape unravel, but not in a dramatic way, but to somehow tell its secrets. This dynamic is important as it creates a portrayal of tension between a sense of disaster and the idyllic and pastoral beauty of the place.
Clare Whistler in De La Warr Pavilion
DO BUILDINGS HAVE MEMORIES?
Durational Performance 23- 28 September
I am doing a 6 day durational piece at the De La Warr Pavilion ending with a performance on September 28th. I am using all parts of the building and outside to the sea. I intend to be at the DLWP from early in the morning before it opens to the public, through much of the time till it closes.
It will be an architecture response piece based around ‘directions’, ie north, south, east and west etc, so I use a compass. I was Artist In residence at the DLWP ( 1996-2001) and made performances all over the building. After thinking about this residency I realised that I was overwhelmed with memories, so my premise became, do buildings have memories?
I have asked 7 collaborators form that time to send one ‘DIRECTION” each for me to follow. I will not know the direction till the start of the day. These directions can be anything they like. One of those collaborators violinist Joanna Lawrence will join me on Saturday to accompany the performance.
Fiona Pienowska in Steven’s Tobacconist
The urban environment fascinates me. In my work, I recreate scenes based on observations of people and places I see around me in the everyday ‘theatre of life’. There is plenty to inspire me where I live inHastings, on every street corner there is a story to tell. I have been influanced by English figurative artists from Hogarth to Edward Burra. Also Japanese prints and German Expressionist prints have been very influential.
My method of working is an ‘Intaglio’ printmaking technique called ‘dry point’. When using this method, I ‘scratch’ in to a printing plate with a sharp tool to produce a groove, in to which ink is applied. The plate is then put through a press to produce the paper prints. Usually I hand colour and sometimes collage the resulting prints in small editions.
Glenys X Jacques in Luggage Plus
A series of paintings exploring the experience of being lost.
Jean Davey Winter in Premier Travel
Through the use of painting and photography I explore the concept of the journey, travel and the map. The starting point for the work comes from photographs taken on flights. Seen from an aerial perspective the land below takes on an abstract map like quality increasing our awareness of the marks made by man, the imposed geometry of transport, urbanisation and agriculture
Sheridan Quigley in Douglas Mercer & Son
Mixed media work, presented in the form of biological specimens under glass domes.
Hybrid insect plants, manifesting the symbiotic relationship between the two lifeforms to support their mutual survival.
Potter Flower Bees are on the verge of extinction. One of only two surviving colonies is located near Seaford, East Sussex. They feed from, and pollinate, plants such as Bird’s Foot Trefoil, Wild Radish and Vetch.
Chalkland Blue Butterflies are indigenous to the local South Downs.
Tom Banks in Ark lettings
My paintings are derived from the landscape, but describing them as such is ambiguous, as the landscape only exists as a suggestion in the shadows. The focus is very much on the foreground. In the same way an ‘old master’ might use the flicker of candlelight, I uses the light from a streetlamp or camera flash to draw the gaze to a specific point, often trees. These incongruous forms, often ignored, existing in an uninhabited urban landscape give a sense of unease, but I am also searching for a beauty in these shadowy figures.
Claire Buckley in St Michael’s hospice & @home
‘Navigate’ continues my love of pre-used and pre-loved textiles in combination with the ‘star’ motif that I often put into my work. I am working with the trading team from St Michaels Hospice to create 2 installations from items that have been donated and re-using embellishments from my own collection. I will be re-purposing furnishing fabrics, denim and jewellery etc. to cover chairs and creating environments from an eclectic range of artefacts all on the theme of ‘Stars’.
Rachel Cohen in Bexhill Library & Picture Crafts, Western Road
Deatils coming soon.
Bea Lacey in Luggage Plus, Western Road
Details coming soon.
Doreen Munro in Bexhill Computer Repairs, St Leonards Road
Details coming soon.