Platform

Nathan Caldecott (Ruskin School of Art, University of Oxford), Freddie Davies (Oxford Brookes University) and Laura Nicholson (University of Reading) in solo exhibitions at Modern Art Oxford until 17 September.

Dominyka Barauskaite and Elizabeth Cahill (University of Hertfordshire), Christopher Daubney (University of Northampton) and Simon Harutyunyan (University of Bedfordshire) in solo exhibitions at MK Gallery from 31 August to 25 September.

Adina Breden-Thorpe (University of the Creative Arts), Edward Byard and Stephen Foy-Philp (Canterbury Christ Church University), Tayler Goatier and Luiza Jordan (University of Kent), Kieran Rook and Janine Weger (University of the Creative Arts Canterbury) at Turner Contemporary from 15 September to 5 November.

George Marguet-Pew and Fay Turner (Arts University Bournemouth), India Coles and Edward Carey (Winchester School of Art), Svetlana Ochkevskaya and Hannah Stockem (Southampton Solent University), Morgan Ward and Pietra Marello (University of Chichester), Archie Munro and Vytaute Trijonyte (University of Portsmouth) and Vanessa Omer and Christopher Beattie (University of the Creative Arts, Farnham) at Aspex from 15 September to 26 November.

Barber’s paintings draw on her encounters with art history, the life of the mind, and the everyday.

She writes:

I paint intuitively, exploring a figurative language painting on large scale un-stretched canvas using oil paint as my medium. I don’t plan what I’m going to paint, I go to the canvas and explore images from my mind or that I have absorbed from the everyday. In my process, I search for balance between interesting images and the way in which these images work together in the painting. Each thing in the painting is equally important; they can’t exist without each other I’m conscious of the space I leave empty on the canvas, as to me the empty space is just as important as the things I’ve painted, it’s the form to make the things I’ve painted live together. I take things from life and put them in my paintings, I cut sections out if they don’t work and wait to find another place in another painting for them. For me it’s like re-homing a dog. You want the best home for that dog and you don’t want to give it to a stranger or the wrong home.

I paint something into the painting and then paint it out or stick some canvas over it because I’m not ready for it to exist in the painting yet. I allow images to emerge and play out their relationship in the painting without interfering too much. I am influenced by the likes of Philip Guston, Roy Oxlade, Rose Wylie and Julian Schnabel. Sometimes I steal images I like from their paintings and put them in mine.

Wilson has constructed an alternate identity – Stella Panterra – in order to make a series of artistic interventions in social media sites. In a series of performances, she draws attention to the way we perform impossible – and sometimes ridiculous – version of ourselves online.

She writes:

Intrigued by this generation’s increasing dependency on technology and social media, my practice reflects on the oversharing of information and desire for online validation.  This devotion to social media was a key focus of my work throughout my studies, and it led me to question our willingness to invest so much time to the alternative lifestyles we lead on the internet. I believe the ability to sculpt and perfect how we portray ourselves through our virtual existence plays a leading role in this.

Using elements of what we constantly witness online, particularly material from enthusiastic lifestyle ‘vloggers’ and health and beauty gurus, I created my alter ego, Stella Panterra who I perform as in my video works. This character is an amplified response to what is deemed to induce recognition and approval through a passionate and aesthetically pleasing online presence.

Alongside creating a carefully executed Instagram account (@pxnterra), Stella keeps viewers informed on the latest health trends through her vlogs and tutorials.

13 Person Collective is a group from the Fine Art Critical Practice course at Brighton University. Instead of creating new works for their degree show, they decided to speak to camera about the work that they would have made, allowing each of the final pieces to exist in the viewer’s imagination.

They write:

LET THE TALKING DO THE WORK contains four installations, three videos, two performances, one symposium and one contract as artwork. We have actively withheld the works in their material form, allowing them to exist in the realm of their potential. For artists today, it seems vital to be able to talk about one’s work. So, what might happen if the object is removed entirely, and all that is left is the talking? By inverting the usual degree show experience we leave you to imagine what might have been. Using a fixed framework, each artist is given the opportunity to verbalise their ideas, creating a cacophony of voices. The arrangement of individual headspaces, however, also allows for the viewer to engage on a one to one level with each idea.

CVAN South East (Contemporary Visual Arts Network South East) is a regional network of visual arts organisations that work collaboratively and with the wider South East visual arts sector to collectively deliver a strong visual arts offer for artists and audiences alike, developing partnerships, research projects, artists’ commissions and professional development. A major element of its programme is the Platform Graduate Award that it has managed since 2012. The network is supported by Arts Council England.

There are plenty of welcoming and good value B&Bs & boutique hotels in Bexhill. The De La Warr Pavilion regularly uses the following :

• Seapray Rooms
• The Cooden Beach Hotel
• Coast B & B
• Buenos Aires
• Dunselma
• De La Warr View (Holiday Flat)

• By Rail
  Direct trains go from London Victoria, Brighton and Ashford to Bexhill.
  There are also trains from London Charing Cross, changing at St. Leonards Warrior Square and from London Bridge or Charing Cross going to Battle. Battle is only a short taxi journey away (15 mins approx).
  Visit www.nationalrail.co.uk for up-to-date train travel information.
• Taxis
  Town Taxis:  01424 211 511
  Parkhurst Taxis:  01424 733 456
• By Car
  If driving from the London area:
  Take the M25, then A21 to Hastings. Turn off at John‘s Cross and follow the signs to Bexhill.
  OR
  Take the A22 to Eastbourne, go across the Bishop roundabout to the A271 and follow the signs to Bexhill and the seafront. The De La Warr Pavilion is on the Marina.
  From the Brighton area:
  Follow the A27 out of Brighton until you arrive in Bexhill On Sea.
• Parking
  Please be aware the Rother District car park outside the De La Warr Pavilion operates paid parking until 7pm. After this time parking is free. There is also lmiited free car parking along the seafront.

Within the limits of this Grade One listed building, the De La Warr Pavilion strives to be fully accessible with a range of facilities to support your visit.

Assistance Dogs are permitted into the building.

Please contact the Box Office on 01424 229 111 to arrange a visit.

Facilities for disabled visitors

• Ramped access at the front of the building
• A low counter at the Box Office and  Information Desk
• Disabled toilets on two floors
• A lift to all floors
• Accessible galleries on both floors
• An accessible Café
• Spaces for wheelchairs in the auditorium for seated events
• Ramped access in the auditorium for events during the day
• Ramped access into the Studio
• Two travel wheelchairs are available for use at the De La Warr Pavilion. To reserve, please call our box office and information desk on (01424) 229111 or ask a member of staff on arrival. The chairs are provided on a first come, first served basis and are intended for use inside the Pavilion. Please contact us for more information.

Facilities for blind or visually-impaired

• Large print season brochures

Facilities for the hard-of-hearing

• An T-Switch induction loop in some areas of the auditorium (please indicate when booking as this facility is not available on the balcony)
• British Sign Language interpretation tours of the building and exhibitions are available on request.