Nathan Coley


Opened on Saturday 26 July.
Click here for details and pictures of the opening event

Open until 21 September 2008

Nathan Coley
Turner Prize Nominee 2007

Nathan Coley

Shortlisted for the Turner Prize 2007

Nathan Coley graduated from Glasgow School of Art in 1989 with a BA in Fine Art and has had solo exhibitions at Centro Cultural de Belem, Lisbon in 2001 and Westfalischer Kunstverein, Munster in 2000. His work relating the trial of the Lockerbie bombers was included in Days Like These, a group exhibition at Tate Britain in 2003.

Exhibition Catalogues

Nathan Coley is an artist whose work questions the way in which the values of a society are reflected in its architecture. His work is based around an interest in public space, and addresses issues such as the importance of place, the social value of architecture and the meaning and relevance of contemporary monuments. Coley has become known for works of public sculpture, yet this is only one part of his practice.

Nathan Coley
Photo: Nigel Green

Nathan Coley was nominated for the Turner Prize 2007 for his exhibition at Mount Stuart, Isle of Bute, the public installation Camouflage Church, Santiago de Compostela, Spain and his contribution to the group exhibition Breaking Step – Displacement, Compassion and Humour in Recent British Art at the Museum of Contemporary Art, Belgrade, Serbia.

For his solo exhibition this summer, Coley has made a new work co-commissioned by the De La Warr Pavilion and Haunch of Vension. Palace (2008) is a large scale sculpture – 10 x 6 m –  which takes the form of a Western Saloon façade.

Visitors can explore Palace by looking at it, round it , on it or through it.

Admission free

A De La Warr Pavilion commission

The De La Warr Pavilion shop offers a great selection of books to accompany the exhibition, click here for more details.

Installation images – photographer: Nigel Green

Kenneth Martin & Mary Martin: Constructed Works


Kenneth Martin and Mary Martin : Constructed Works
26 January – 20 April


‘A wonderful exhibition of two unsung local artists Kenneth and Mary Martin Time Out’s critics’ choice.

Kenneth Martin and Mary Martin were at the forefront of artists including Victor Pasmore who ‘rediscovered’ abstraction during the 1940s. Kenneth Martin’s mobile sculptures and Mary Martin’s reliefs are based around mathematical principles and display extraordinary innovation.

Kenneth and Mary studied painting at the Royal College of Art, where they met. Their methodical approach and structural framework allows for chance and surprise.

Kenneth Martin referred to his constructions and mobiles as drawings in space. His largest mobile, commissioned for London Zoo in 1961, has been specially restored for the exhibition. Mary Martin’s work embraced both hand-crafted techniques and industrial mass production. She used permutations determined by mathematical principles, such as the Golden Section or the Fibonacci sequence. These numerical structures being based on forms found in nature, the Martins’ work has a natural feel.

They also believed that art had a social role to improve life and worked on a series of public commissions, Mary made wall constructions for the MusgraveHospital in Belfast and Kenneth’s Screw and Reflector mobiles were exhibited in a children’s ward at the WhittingtonHospital.

‘Kenneth Martin & Mary Martin: Constructed Works’ is organised by Camden Arts Centre and De La Warr Pavilion, Bexhill and travels to Tate St Ives.

Tate St Ives

(06 October 2007 – 13 January 2008)

Camden Arts Centre

(13 July 2007 – 16 September 2007)

Triple Echo


Triple Echo
29 September 2007 –
6 January 2008

In Triple Echo, the De La Warr Pavilion brought together a season of new audio-visual work by artists Sonia Boyce, Sophy Rickett and Terry Smith. Each artist’s project had a distinctive process and approach, developed initially as live performance pieces, working in collaboration with composers and performers to finally culminate as three seperate gallery installations. Alongside the exhibitions and in the auditorium, the Pavilion presented an exciting film and music season including an exclusive concert to celebrate the Pavilion’s anniversary by Michael Nyman, internationally renowned composer of film scores that have become modern classics.

A new film by Sophy Rickett
with music by Ed Hughes

is a direct response to Glyndebourne Opera House, both as a physical site and as a centre of music and performance with a rich and celebrated history. The opera house is a striking landmark set against the rolling Sussex Downs and also the vehicle for Glyndebourne’s epic productions that invlove the massive co-ordination of an international company of singers, musicians, designers, technicians and producers.

Auditorium Installation

Sophy Rickett and Ed Hughes’s film goes to the heart of this vast production house, bringing together their artistic values and interest in modernist forms, and strongly echoing Sophy Rickett’s photographic work. The film uncompromisingly strips back the operatric space to its architectural and theatrical core, using simple, slow movement that transforms the interior of the building in a monumental caress of light and shadow.

Auditorium Installation

Ed Hughes’s musical score overlays the film’s formal, grid-like structures with its own elements of line and rhythm while adding further dimensions fo musical space and colour. Auditorium is a two-screen presentation, giving the work a distinctive sculptural quality. The images are visible on both sides of each screen so the film is experienced in the round, enveloped by Hughes’s accompanying sound-scape.

Auditorium Installation

Sophy Ricketts work came to prominence in the late 1990s, following her graduation from the Royal College of Art, London. Since 1996, Sophy Ricketts photographic work has explored the tension between the narrative tendencies and the abstract possibilities of photography. Ignoring many of the descriptive and representational capabilities of the camera, she has worked almost exclusively at night, building her work around the drama between what the photograph might reveal and what it might conceal. Her photographs generate a powerful atmosphere and sense of place, one that is consistently infused with the desire, uncertainty and expectation associated with darkness and the unseen.

For you, only you
A project by Sonia Boyce

Visual artist Sonia Boyce has conceived a collborative project that addresses the boundary between classical music and sound art. With For you, only you, Boyce brings the world of the early Renaissance into the 21st century by marrying the inventions of the great Franco-Flemish composer Josquin Desprez (c.1440-1521) with the contemporary voice of the Greek composer Mikhail Karikis.

Sonia Boyce

Josquin is one of the most influential composers in the history of Western music, representing the pinnacle of compositional development in the early Renaissance period. Karikis’s encounter woth Josquin’s sacredchoral piece Tu solus qui facis mirabilia (You alone can do wonders) involves a deconstruction of the original score as the basis for a totally new piece of music, which imagines a dialogue between two characters: the voice of an old master and a contemporary, troubled voice.

Sonia Boyce

For you, only you takes the form of a three-screen, audio-visual installation which documents the first performance of this new piece which took place in April 2007 in the Chapel of Magdalen College, Oxford. It was performed by Karikis and the early music choral group Almire, under the leadership of David Skinner, Director of Music at Sidney Sussex College, Cambridge. The project is accompanied by a fully illustrated publication featuring a description of the narrative behind Karikis’s reworking of Josquin, commentaries on the collaboration by the main protagonists and an analysis of the creative process by the writer Jean Fisher, together with a CD featuring For you, only you and four closely related compositions from the inaugural Oxford concert.

Sonia Boyce

Sonia Boyce is a British Afro-Caribbean artist, living and working in London. Her early pastel drawings and photographic collages address issues of race, ethnicity and contemporary urban experience, questioning racial stereotypes in the media and in day-to-day life. More recently her work has shifted to incorporate a variety of media that combine photographs, collages, films, prints, drawings, installation and sound. Boyce has worked with other artists in improvisational collaborations, bringing the audience into sharper focus as an integral part of the artwork and demonstrating how cultural differences might be articulated, mediated and enjoyed.


Broken Voices
Terry Smith with Ian Dearden and Linda Hirst

Broken Voices by visual artist Terry Smith is a new sound intervention that takes a classical musical score, Duo Seraphim clamabant a 3 voci,  by Claudio Monteverdi (1567-1643) as its starting point.
Smith has collaborated with the renowned vocalist Linda Hirst and the acclaimed contemporary composer and sound designer Ian Dearden to develop and produce the sound element for Broken Voices.
A series of one-off live performances were specifically developed through discussions, rehearsals and improvisation. They were presented by Artprojx at three locations – St George’s La Chiesa Anglicana di Venezia 52nd Venice Biennale with Nuova Icona, A Foundation, Greenland Street, Liverpool and at the Tete a Tete Opera Festival London.

Smith has used each performance with Hirst and Dearden to explore the ephemeral notion of sound. This has allowed the work to remain experimental throughout, bringing together ideas, sounds and images to combine and create an audio-visual montage. Improvisation and change continues to be a key element; like all of Smith’s work Broken Voices remains in a constant state of flux. The influence of composer John Cage is evident throughout, where Smith plays with the idea of chance and indeterminacy by fusing noise, sound and music.

The audio-visual installation provides the viewer with an opportunity to observe different aspects of the project examining not only the original music, but also the idea that language and meaning is often broken and fractured.

Terry Smith is an installation artist and film maker whose site specific architectural interventions have been shown internationally. Smith has made major installations at the BritishMuseum and Tate Modern and in 1999 and 2003 exhibited video commissions at the Venice Biennale. Earlier this year he showed video works to accompany the Chris Burden show at the South London Gallery; Videos at MOCA South London; Drawings at Temple Bar Gallery, Dublin; Sculpture at Makeshift, London; and Video at the Royal Scottish Academy.


Single Shot

The De La Warr Pavilion in partnership with CINECITY presented Single Shot, a series of film and video works by artists and new talent, all shot in one take. To compliment the Triple Echo season the films were shown in clusters on monitors around the building, creating a pick-and-mix of moving image works that visitors can enjoy as and where they find them.


Jeremy Deller


Image above: Still from ‘The Battle of Orgreave’

In 1998, British artist Jeremy Deller set up a digital recording studio at the De La Warr Pavilion, in a room overlooking the sea, and invited local retired people to make a record of their choice using computers and samplers.

The resulting work ‘We are the mods  is typical of Deller’s evolving occupation over the past decade as artist, curator, producer, publisher and instigator.

‘we are the mods’

His basic curiosity in trying to work out how everything is connected to everything else prompts him to generate collaborations between groups and individuals that would at first seem unlikely. The processes and outcomes of his work celebrate and reveal connections and histories between left field and mainstream, hi-tech and low-tech, old and new.

Deller’s activity as an artist is varied, taking the form of documentary film and photography, prints, editions, publications and works which can be, by their nature, transient and brief. They all describe and document his engagement and enjoyment of ‘culture’. His deliberately entertaining work has a recognisable lightness of touch that is both politically and socially charged.

This exhibition of the artist’s work over the past decade  presents seminal works including,  amongst others, his well known The Battle of Orgreave (2001) a filmed re-enactment of the conflict that took place between the miners and the police during the miners’ strike of 1984 and the celebrated Acid Brass, where a brass band from Stockport are recorded playing acid house anthems.

Jeremy Deller completed a BA in the History of Art at the Courtauld Institute of Art, London (1985-88) and an MA in History of Art, University of Sussex (1991-92). He was winner of the Turner Prize in 2004 and currently lives and works in London.

Get Involved!

Join artist Sheridan Quigley and gallery staff to contribute to an archive of work and iamge. Inspired by the exhibitions and by the Pavilion itslelf, it will form an evolving display over the summer. Sheridan will be working in the galleries on Wednesday and Saturday aftenoons in August but you can drop in to take part at anytime during gallery opening times.

The interactive drop-in area
Copyright for all images is owned by:
J. Lambie and W. B. Lambie