Friday 21 September, 12 noon – 8pm

PARK(ing) Day is an annual global event where artists, activists and citizens collaborate to call attention to the potential of the urban landscape by transforming pre-paid parking spaces into sites for creative experimentation, political and cultural expression, and unscripted social interaction.

As part of the Dear Serge programme* and Coastal Currents Festival 2018, we are inviting proposals from artists, designers, performers and local community groups to consider what is the range of possibilities for creativity in a space usually dedicated to the storage of a private vehicle?

Since PARK(ing) Day’s inception, launched by Rebar Art and Design Studio in San Francisco in 2005, this open-source project has been adapted to address a variety of social issues in urban contexts by thousands of people around the world. Participants, guided by common core principles, have built interventions ranging from urban farming and ecology demonstrations, ping-pong parks, busking platforms, art installations and a free bike repair shop. Click here to see the PARK(ing) Day manual.

If you are interested in applying, please fill in an application form describing your proposal to reconfigure a parking space in the De La Warr Pavilion car park, from 12 noon – 8 pm on Friday 21 September 2018. Note that most of the parking spaces are approximately 480 x 240 cm. Click here to see aerial view of the car park.

Download Application form (PDF) here
Download Application form (Word Doc) here

Please send your completed proposal form and no more than 4 relevant images/links to, no later than 6pm Monday 20 August 2018. Proposals will be selected by a panel and successful applicants will be informed by Thursday 23 August.

*Dear Serge is an interdisciplinary programme strand with an experimental and innovative spirit that bridges a diverse spectrum of music, performance, and visual arts. Inspiring installations, intriguing interventions and engaging live events generate dialogue between art forms throughout the De La Warr Pavilion building and surrounds. Serge Chermayeff was the visionary architect who designed the De La Warr Pavilion’s extraordinary interior. Dear Serge is a letter to him, written across the page of the building.


Read volunteer Graham Millett’s blog about his first Architecture Heritage Tour at the Pavilion on Sunday 13 May. This new programme of tours are led by volunteers who have been especially trained in the architectural heritage of our  1935 Modernist building.

“My first official tour was on Sunday 13 May.  Thirteen people attended and in my introduction I explained that this was my first flying solo tour.

Front of house staff were very helpful and took care of my requests. They offered to shadow me on the tour just in case of any problems. As we went onto the auditorium stage, the front of house staff very kindly raised the curtain while we stood looking out into the auditorium, the effect was brilliant, a real wow moment for the those on the tour. None of the people had been backstage before, so to stand on the stage and have the curtain raised was brilliant. Hopefully this can be a regular feature of my tours when the stage is clear.

I was pleased with myself as I did not use my prompt cards through the one hour tour, this enabled dialogue to flow between me and the participants and allowed questions to be asked without me being thrown off my thoughts.

Feedback at the end of the tour was positive. Participants said they found it very interesting and educational. They were particularly pleased with the tour including aspects relating to the development of Bexhill from the 19th century, details about the De La Warr family and of course the modernist concept of architecture.

Two people were so enchanted by the building and tour that they decided that they would become members!

I thoroughly enjoyed myself after a brief moment of anxiety to begin with, so now I look forward to leading my next tour.”

Support the De La Warr Pavilion and its heritage by becoming a Member here. 

DIGITAL SOUND MAKERS – Audio possibilities of the Raspberry Pi computer

It was a warm but very wet last afternoon of May on the south coast when I (Samuel Halligan AKA Fingers Push Buttons) was joined by intrepid young digital sound  pioneers in the  DLWP Studio in Bexhill on Sea. Our successful mission was to gain an introduction to the audio possibilities of the Raspberry Pi computer platform and become Digital Sound Makers. We would achieve this  by constructing Raspberry Pi computers right out of the 100% recyclable boxes with the excellent Pisound audio hat by and then  start making noises from a choice of programming and patching platforms. I am very proud of this group of mixed ages (11- 19) that they all achieved this goal.

As a practitioner of community music for the last 11 years I have got plenty of experience of helping people make music for the first time, but this session’s experience was something of a departure. We would explicitly be computer programming sound as apposed to just using computer programs to make sound. The aim being to build our own instruments and effects out of computers. Whilst I have had plenty of experience modifying and creating digital tools for music making, in particular for special needs students, I had never taught computing before.

As first experiences go though this was great for me, all of the young people completed two core session goals namely setting up their computer’s hardware and software and creating devices with which to make and mangle audio using either Pure Data or MODEP. Along the way there were a few bumps and hiccups getting things to run properly but this was exactly the intended experience  allowing us to learn about trouble shooting, fault finding and fixing that is an essential skill for computer programming. By the end of the session we had built two mono synths and a guitar effects rig. As well as what they had achieved in the session three of the young people attending said they would dig out Pi computers they owned but didn’t use in order to to start making sound with them and a further two (and their parents) enquired about replicating the exact setup we used in the session at home (so look out and I think you might have some orders coming your way). I feel always that sessions have worked well when students go away as they did here inspired to further engage with the subject.

Unfortunately a quick internet search will show you that ‘open to the public’ opportunities to engage with the subjects of computing with Raspberry Pi and/or creating digital sound from a programming perspective are not currently abundant across the southeast of England. However for myself I come away from this sessions experience armed with ideas for tweaks and improvements for my next opportunity to present  a full day or half day of Digital Sound Makers activity as well all the equipment I need to run it and I can’t wait to do it. I can not levy enough praise to DLWP and for making this one possible

For any group or individual or school, college or university interested in booking sessions in programming for music and sound then please contact me on or via my web page

 If you are an experienced Raspberry Pi instructor of any creative background and are looking for opportunities in South East England I would love to talk to you about the potential to set up a network of well co-ordinated events to improve the landscape for learning computing for the arts in the region in the near future.

 For the attendees of this session I will be making some additional resources available on my website over the next 7 days, please check at This will include a recap of the session activities and some additional information including full instruction for how to get the ‘Organella’ synthesiser’s   open source Pure Data patches to run on your Raspberry Pi.

By Samuel Halligan, Fingers Push Buttons

OUTLANDS – a significant and really positive step forward for music in this area

As someone involved in making experimental music and occasionally promoting live events in Hastings I know only too well the potential thrills and challenges that may be experienced when reaching out to a curious and open-minded audience in this corner of East Sussex. The Outlands network, linking the DLWP with other national promoters or venues such as the brilliant Supersonic Festival in Birmingham is in my view a significant and really positive step forward for music in this area. I was intrigued to attend the first show in this year’s series of events.


In my experience, a common misconception about music considered experimental is that is it just, well, ‘NOISE’. Venues can struggle to, or shy away from, presenting such music in all its glory, reducing volume or poorly mixing live sound. It was reassuring that Outlands and the DLWP succeeded in delivering clarity and volume, unleashing the full power and dynamics of the live music. The auditorium had been reconfigured into a more intimate space and the quadrophonic sound system was given a thorough workout by both acts.


First act, Goitt wove a hallucinatory web of menacing Lynchian saxophone, soundbites and scrapings. The fact that the audience was sat as if in a cabaret club only added to the surreal nature of the experience. Unleashing brutal low end frequencies, they seriously testing the audience’s openness to experimental music. I was informed at the end of the evening, by an expert in such matters, that Goitt had been ‘gentle’ with the audience this time. It was a thrilling, intense and at times unsettling performance.


Matana Roberts and Kelly Jayne Jones started their performance using voice alone. Alternate or clashing words gradually disorientated and set the dreamlike tone to their set. We journeyed through a sound world that included birdsong, scraping rocks processed as sub bass kicks, cosmic jazz keyboard stabs, tuning fork feedback, beautiful flute from Kelly Jayne Jones and tantalisingly brief passages of sax from Matana Roberts. I noticed the Outlands logo on the screen behind the artists and wondered if the addition of moving images would have added even more power to the music. However, my sense was this was not about spectacle so much as head music, a soundtrack for the mind. I noticed my fellow traveller sat next to me, eyes

closed, leaning back in his chair, soaking up the sound. An auspicious start to the Outlands series. I’m really looking forward to the next event in June.

James Weaver is a founder member of Warrior Squares, a Hastings based collective who make music in free improvisation form. No two live performances are the same.  James organises and promotes experimental and electronic music events in Hastings and co-curates and promotes events such as Thee Sunday Sonics which is part of the Hastings Fat Tuesday weekend. In May 2018 he curated Touched Live which included live sets by electronic artists on Warp Records.

By James Weaver

Harold John Izzard 1928 – 2018

We are very sad at the passing of Harold Izzard (we called him John).  He was a great supporter of the De La Warr Pavilion and very much part of our story. He vividly remembered representing St Peters Boys School at the opening of the Pavilion on December 12 1935 and the tea-party/bun fight that ensued afterwards!  Bexhill and Sidley has lost someone who made a huge contribution to the community and our thoughts are with Eddie, Mark and the family at this sad time.


On 25 May, Vanessa Cunnew introduced visitors to our exhibition and to the work of architect Eileen Gray. She focused on Kasper Akhøj’s photographic series Welcome (to the Teknival), making unexpected connections with Japanese Symbolist poetry and stick-insects. Here is a transcript of her talk:

This exhibition is called:  ‘I Blew On Mr. Greenhill’s Main Joints With A Very ‘Hot’ Breath’. It introduces the idea of the hot, healing breath of Tropical Modernism.

In early Modernism especially after the First World War, there were many experimental ideas in healing and mental health. For example, in 1935 the De La Warr Pavilion was co-commissioned with the Ministry of Health. Brazilian artist Tamar Guimarães and Danish artist Kasper Akhøj are interested in the telling of ‘Minor Histories’: awakenings from suppression…and eclipse.

Considered by the artists as a process of healing, they present three films and a series of photographs. Two of the films in the exhibition are made collaboratively. The eighteen photographs by Kasper Akhøj show Villa E1027, an icon of early Modern architecture by Irish architect, Eileen Gray. Built as gift for her lover, the codename interlaces their initials : E for Eileen and 7 for G (seventh in the alphabet ). Today, I thought we might explore Villa E1027  through the Japanese ideas in Symbolist poetry…as a minor history of ‘space’. 

Inspired by the soundworld of the films, I have tried to create a musical instrument of seven photographs…or healing bells. You are welcome to listen to just one …or maybe more, if you wish.

In Japan, healing bells take the form of water bowls. They have been considered, since ancient times to have supernatural powers of healing. Tomoko Sauvage, Japanese-French sound artist explains her technique on Exposure on BBC Radio 3: 

‘…I am using five bowls, four porcelain and one glass of different sizes and filled with water. Each bowl is amplified with a hydrophone…an underwater microphone, and I also have a mixer to control the intensity of the sound and also some electronics to modify the sound…I am constantly playing with (chance), especially with the acoustics of the room. Also the number of people who are there…changes completely the acoustics, and of course, the water is evaporating all the time…’ 

On a rugged hillside seen from a calm sea, on a cloudy day, is Villa E1027 designed by Irish architect Eileen Gray. To build on a hillside Gray uses a pioneering concrete frame structure. Developed in 1902 by bridge designer Francois Hennebique, this technique was used for the construction of sanatoria on the edges of steep gorges.  Every room was exposed to south-facing sunlight and sweeping horizontal windows opened wide to mountain air. Only just visible in this photograph, are the horizontal pale grey sun-canopies made of sail-cloth, on the Villa’s south-facing facade. They are the same pale grey as the curtains in the gallery  forming a soft-sculpture around three cinemas. The cinemas were designed collaboratively with designer Frederico Fazenda. They create acoustic cocoons.

In 1935 Gray briefly met Erich Mendelsohn the architect of the De La Warr Pavilion.  The curtains in the gallery evoke the curtains for the Pavilion’s unbuilt cinema. The curves and micro-curves of the curtains have, for Tamar Guimarães, the reality ‘of walls less solid…more porous… unable to contain the subtle substances that inhabit them.’  They appear to breathe like lungs… or to airlift to a hovering, intangible hospital like spiritual helicopters. 

Textile designer Petra Blaise mentions another key word…voyage in ‘A Curtain Can Be A Political Statement’

I believe that the way curtains make a path can influence… and that their form in reality is like a choreography of movement that does not belong to the curtain alone but also…to the people that use the space that is changed by it.”

Villa E1027 is known in France as ‘Maison en bord de mer’ (House by the Sea). It is set adrift by the ideas of French Symbolist poetry. Kasper Akhøj presents a document of the restoration of Villa E1027 over ten years.  He has sought to use the same camera angle as Grayto recreate her original portfolio of black-and-white photographs taken when Villa E1027 was completed in 1929. There is a sense of both photographers being equally present and absent. Akhøj told me that he used a 1950s camera to take these photographs. This was a time when Eileen Gray’s work fell into obscurity.

French Symbolist Paul Verlaine, imprisoned for his poetry, expresses the idea of nuance, the sense of something not quite there in Art Poetique 1884: 

 “Do not choose your words without some mis-translation, Nothing more precious than the grey song, Where the wavering and the precise are joined…Not colour, nothing but Nuance!’

My mis-translations use a French dictionary from 1924, the year Gray began her designs for Villa E1027.

In the winter edition of the magazine ‘Living Architecture’, Eileen Gray’s photograph of the ‘living-sleeping’ room of Villa E1027 appeared. In the background was a large navigational chart of French coastlines. The words ‘Invitation au Voyage’  (Invitation to a Voyage) were emblazoned across it. This is the title of a poem by Charles Baudelaire. It contains a dream of sensual Modernism described as an ‘immanent cosmic current’ (from www.etudes-litterairesIt was published in ‘Fleurs du mal’ or Flowers of Evil in 1857. A complex rejection of decadence, it was immediately banned as immoral.  Gray’s black-and-white photograph was stenciled over with bold pockets of colour, called ‘pochoirs’ in French. This is also the word in French for ‘black eye’. 

In this ‘remade’ photograph by Kasper Akhøj, leaning against the same wall of the ‘living-sleeping’ room there is a displaced exterior shutter.  Above there is an arrhythmic musical score of toxic fingerprints. The wall is heavily bruised with forensic ‘fleurs du mal’. They capture the disquieting soundworld of this broken interior. Shown in the centre of the room is the benign ceremony of a site-table. The scene looks like an improvised hospital in a war-zone.

In 1926 Eileen Gray designed a small tea-table especially for this room. A circular tray of polished chrome hovers above a lacquered tabletop on an elegant pivoting armature. It is mirrored at low-level by a second pivoting tray. It was intended for the ease of serving tea standing-up or sitting-down. For me, this table has an echo of a moon above a smooth surface of water with its reflection below. This is how contemporary Japanese music composer Yuka Takechi might imagine herself in Gray’s living-sleeping room…

‘This room is particularly for tea, a tea room, a tea-ceremony room. I think it is a very zen room.  I imagine if I could be here…  maybe I could compose very beautiful work…’ (From ‘Night Blossoms’  on BBC Radio 3)

This is Eileen Gray’s Non-Conformist Chair. To me it looks like a wounded chair,  with one arm abruptly absent. The other oversized arm, is softly curved and muscular. It was designed to be pushed against the wall to create a corner ‘study’ in the small guest-room of Villa E1027. Yet its enforced asymmetry is elegant and compassionate. Gray was an ambulance driver in France in the First World War. This chair is perhaps a self-portrait, captured by Kasper Akhøj in an unblemished corner of the Villa. It expresses Gray’s wish for her designs to be ‘simple and healthy’. It reminds me somehow of the stick-insect shown in fragile equipoise on a masculine arm in the film-work ’A Minor History of Trembling Matter’. The insect looks like a tiny green word or a mini-musical instrument that has come to life.

The austerity of Gray’s designs possess an aura. She believed in space as ‘a living organism’ evoking the Japanese concept of space, called ‘ma’. Shakuhachi player, Rei Jin explains in ‘Night Blossoms’ on BBC Radio 3:

‘…if you see the space, the calligraphy…the sounds…in particular for the Japanese flute player, when you are breathing through that sound, towards the end…there is that meeting between silence and the sound, which is the ‘ma’.

This photograph has the beauty of Japanese lacquerwork. It also evokes the Art Deco Metro canopies of Belle Epoque Paris where Eileen Gray became a celebrated furniture designer. It shows the interior view of a sky-lantern above a spiral staircase. It is a sculpture that opens onto a roof-terrace garden formed simply of grey gravel. A Japanese garden of contemplation. As we move through the gallery, the space seems to become this grey-garden… which we inhabit like spirits.

The roof plan of Villa E1027 is also a plan-portrait of Gray’s lover. The lantern represents his eye. Although the sky-lantern is pure white, in this photograph the metal glazing bars are seen in silhouette. The light through them echoes the diaphanous verse of Baudelaire’s poem ‘Invitation to a Voyage’.

One day, a child in the gallery described this photograph as a dandelion. It captures the idea of a cloud-like dehiscence, a seed-burst of voices, a dispersal into unexpected future territories. The lantern is in the shape of a logarithmic spiral in the Golden Ratio. This ratio is known as an ‘irrational’ number. It is present in nature, art and astrophysics. In botanical growth, it ensures that one leaf  can never fully eclipse another…it creates dappled light beneath a tree.

French founder of Spiritism, Allan Kardec describes ‘spirits’ as ‘intelligent beings that influence our world.’ Perhaps they are also ‘irrational’ numbers. ‘…Also, the sound which was very simple… was very particular because of the water waves, making a…flowing glissando, natural movement in sounds.’ Tomoko Sauvage, Japanese-French sound artist (From ‘Exposure’ on BBC Radio 3) 

This photograph shows a folding French cafe-table. Placed carefully on top are bubble-wrapped slats of wood. They are salvaged pieces of Eileen Gray’s built-in furniture. ‘Plaque de Porte – Gauche’  (Door Panel – Left ) is handwritten by a conservator across bands of white tape. This plastic bundle looks like a white sea bird with a broken wing, ringed for identification before being set free. Behind it is a bi-folding window with sliding exterior shutters. There is a zig-zag progression from firm-closure to an open window with the foliage of a botanical garden seen beyond. It echoes the process of re-wilding, restoration or healing. Gray developed her transition to abstract ideas through her work as an outstanding lacquer artist. She worked with Japanese master Seizo Sougawara creating folding lacquer screens. On the window sill, in this photograph of the guest-room in Villa E1027, a conservator has left a small black brush. It looks like a lacquerwork brush left by Gray. There is a reflection of the room interior in the folding window. Kasper Akhøj is standing in this room out of view to take this photograph. Perhaps we see Eileen Gray.The room we see may not be Villa E1027…but the gallery where we are standing, to view the photograph. Imagined in the window-reflection, hovering over the restoration table, like a healing astral city, is the wingspan of the Pavilion’s contemporary bandstand set free from its restoration cage of scaffolding and translucent white plastic. There is a zig-zag of reality. In Negoro style : ‘The red lacquer wears away gradually and irregularly with use (revealing the black lacquer underneath) producing the effect of natural ageing for which these pieces are highly appreciated.’ Sean Pathesema, museum photographer and Jihei Murase, lacquer artist.

This enigmatic garden feature is a solarium. There is a broken table in the middle for drinks. The glazed black tiles are gently inclined towards the sun. They absorb heat by day and radiate warmth at night. Perhaps it is also for naked stargazing… 

For me, it looks like a meteor-crater. The trenches of two World Wars are submerged in this ‘pochoir’, this black eye of the twentieth century. It also evokes the ‘poema enterrado’ or ‘buried poem’ of Brazilian poet Ferreira Gullar who died two years ago. He was imprisoned for his poetry, by the Military Dictatorship on his return from exile where he wrote his epic ‘Dirty Poem’ : “Oh, my dirty city you suffer deeply in silence, from the shame the family smothers in its deepest drawe of faded dresses of tattered shirts of legions of degraded people barely eating  yet embroidering flowers on their tablecloths on their table centrepieces with water jars.”

This embroidery-scar says ‘ Welcome (to the Teknival)’. It is also the title for the complete series of eighteen photographs by Kasper Akhøj. During the restoration process,  this sardonic graffiti was first overpainted in gloss black camouflage later to re-emerge…as a white bruise. It expresses perhaps the ephemeral and enduring nature of photography.

In a musical eclipse of underwater bells, Symbolist composer, Claude Debussy writes on his musical score these dynamic markings for loud and soft playing: “Deeply calm. In a ringing (Gray) mist Soft and fluid Without nuance Little by little emerging from the (Gray) mist Growing, progressively louder, without rushing Ringing without harshness A little less slow In an expression growing and stirring Expressive and concentrated Into movement Floating and hollow An echo of the first phrase With the ringing sound of the opening…” For me these markings echo the eclipse and eminence of Eileen Gray’s work and the beauty of Kasper Akhøj’s photographs. The Symbolists put titles at the end of their work. The words ‘Entrez Lentement’ (Enter Slowly) are stenciled by Gray in yachting graphics above this small entrance to Villa E1027. Slowly…space evolves through the invitation to a voyage.

Makeover for DLWP bandstand

The RIBA award-winning De La Warr Pavilion bandstand is currently undergoing remedial works, just ahead of a packed summer programme of outdoor music.

Supported by Ibstock Enovert Trust and designed by Niall McLaughlin Architects in conversation with Bexhill school children, the bandstand was installed in December 2002 signalling a new and more contemporary  purpose and programme for the Pavilion, ahead of its main refurbishment of 2003 – 2005.

With the old bandstand for traditional brass only, the current bandstand has hosted swing bands, folk bands, indie bands, rockabilly bands, young musicians, acid house music, DJs and children’s choirs, appealing to all music tastes and audiences. The centrepiece of our south terrace (and often the background for fashion shoots and wedding photography) the 15 year old structure is undergoing sandblasting, fixing and painting, with the continued support of its original design team – Niall McLaughlin Architects, and Price & Myers structural engineers – and its original funder, the Ibstock Enovert Trust.

The works will be completed in June.


The international nonprofit Faena Art announced today that Tamar Guimarães and Kasper Akhøj have been named the winners of the organization’s $75,000 Faena Prize for the Arts, which celebrates artistic experimentation. This year’s biennial juried prize invited artists to create proposals for projects that would explore the concept of time and duration, and engage with the Faena Art Center in Buenos Aires.

The Copenhagen-based artists’ winning proposal referenced the tradition of the libretto. They designed an immersive theater experience for a micro-musical in which the stage would become an inclined terrain. Up to $50,000 of the artists’ prize money will fund the project, which will debut at the Faena Art Center in 2019.

“Tamar and Kasper’s practice is interdisciplinary at its core, based on rigorous research and combines elements of theater, music, architecture and politics in a highly participatory manner,” the jury said in a joint statement. “It is a post-disciplinary, post-colonial practice that retains the kind of reflection on its own process that belongs to the very tradition of modern art.”

Chaired by Ximena Caminos, Faena Art’s artistic director, the jury comprised Carlos Basualdo, Keith the senior curator of contemporary art at the Philadelphia Museum of Art; Anita Dube, the curator of the Kochi-Muziris Biennale 2018; Pablo León de la Barra, the former Latin America curator for the Guggenheim UBS Map Global Art Initiative; and Franklin Sirmans, the director of the Pérez Art Museum Miami. Jesús Fuenmayor, curator of the XIV Bienal de Cuenca, also served as an advisor.

Former Faena Prize winners include Roger Hiorns (2016), Cayetano Ferrer (2015), Fundación Vairoletto (2013), and Martín Sastre (2012).

See Tamar Guimarães and Kasper Akhøj’s exhibiton I blew on Mr.Greenhill’s main joints with a very ‘hot’ breath  in the Ground floor gallery until Sunday 3 June.

Dubs at DLWP Headline Sponsorship

The De La Warr Pavilion would like to invite your business to become joint Headline Sponsor of ‘Dubs at DLWP’ – a brand new summer event in the Bexhill calendar on Saturday 11 August. As part of this unmissable new event, all “Dubbers” – VW Camper and classic VW car owners – are invited to head down to the De La Warr Pavilion for music, an outdoor film screening and a chance to show off their VWs to a big crowd.

The schedule of the day will be for Dubbers to “show ‘n’ shine” in the DLWP car park from 10am and enjoy music by DJ Wendy May’s Locomotion and live music from Bobby Fuego’s Fat Fingers of Funk on the sea-side terrace from 12 noon. In the evening there will be family activities prior to a screening of the classic VW movie The Love Bug (1968) at sunset. For this exciting new event we expect approximately 200 vehicles and 5,000 + visitors and participants (weather permitting).

This sponsorship arrangement will build your brand reach by offering numerous key benefits and logo placement during the event and throughout the build up.

The De La Warr Pavilion’s programme is one of the most distinguished in the region, having been carefully developed over the past ten years. Our programme features leading names from the fields of comedy and contemporary music, with Dubs at DLWP being an exciting new addition to our summer programme. By becoming a Headline Sponsor of Dubs at DLWP, your business will directly benefit from a close association with the Pavilion and this new flagship outdoor event.

By associating your company with the event, DLWP will further the profile and reach of your brand via our:

  • 410,000+ annual visitors
  • 20,000 newsletter subscribers
  • 81,000 Twitter followers (@dlwp) and 12,000 Likes on Facebook
  • 5100 followers on Instagram
  • 500 Members and Patrons
  • 1,200,000 website views per year (
  • Digital reach of over 3 million people

Key Benefits:

  • Logo on bespoke event print (5,000 leaflets and larger posters distributed locally)
  • Logo on event page on DLWP website
  • Promotion on DLWP social media channels and Coastal Culture Trail social media channels
  • Logo on e-newsletter announcing the event
  • Logo on outside banner for day and days leading up to the event.
  • Logo displayed on the wall before the outdoor screening
  • Prime parking space to park branded VW vehicle
  • Credit on all press releases related to the event

Proposed Sponsorship:

£2,000.00 (incl. VAT)

If you are interested please contact Tim Cook on

Find out more about Dubs at DLWP here. 



The sun shone for De La Warr’s Spring Studio on 31 March, attracting over 100 people, young and old, to participate in spring related craft activities in the De La Warr Pavillion’s studio.

It was a perfect celebration of the long awaited spring after a particularly cold winter. People were invited to make a willow flower with translucent paper tissue petals, carve a plaster block and use it to make prints, make a spring mask and adorn a winter branch with textiles to create a magical spring of their own invention.  Using mirrors people were invited to transform their branches into whole trees to spark ideas for a piece of creative writing. It was a thoroughly enjoyable day full of positive creativity ready for our new season.



Written by Anna Thomson

Join us for Summertime Studio on Saturday 25 August for fun in the sun and an assortment of family friendly creative activities. Find out more here.