Absence

23/05 – 28/06
15 Brighton Place

A large hand woven steel jacket is installed in the window of 15 Brighton Place.

The jacket relates to family absence resonating deeply in the context of present times. An earlier version was created in Sweden, still in situ. It was made as an offering to a father and son who had become estranged and was influenced from Helen Goodwin time living and working in China.

‘’In much of my making I use materials of place, geological and cultural. Influenced from my time of living and working in China, the jacket references the Buddhist paper offerings burnt in parts of Asia to protect those in the afterlife. 

Created in Sweden using local stories and materials, as an offering to a local father and son who had become estranged.”

The project was created in conjunction with “My Yorkshire Chair Meets the South Coast Edgeland” a site specific intervention on the Brighton coast in April.


“I once owned a small wooden cottage on the edge of the fastest eroding coastline in Europe, in East Riding, Yorkshire. One spring tide my cottage was taken by the sea, I managed to retrieve a single wooden chair before my cottage disappeared. 

This is a piece in progress, working with my chair on the slower disappearing coastal edge of my home town of Brighton, on the day of the highest spring tide.”


Thanks

With huge thanks to Anna Carlson for her wonderful assistance and enthusiasm and to Mat too for the lovely drone footage. To Andy and Jini for helping me down to the coast with my chair and equipment. Huge thanks too to Terrence Brett and James Heath for constructing the jackets support and Terrence for his continued generous support. To Tom Illsley for his beautiful photographs of the installation on Brighton Place. To Hanningtons Estate for lending us the unit. And finally to Elena and the team at BAN for all they do!

Gallery

Photography Tom Illsley

Artist Bio

Helen Goodwin’s practice is largely site responsive and performative, often working in outdoor locations, and with an emphasis on impermanence. The particular locality, both people and place, is the basis and provides materials that feed into her work. Her focus is on issues of place, space and belonging and she is particularly interested in the ever-changing edges of landscapes which are a reminder that nothing is ever fixed or permanent. 
Helen has been selected for various international arts residencies and has works held in international private and institutional collections, including in Switzerland, Sweden, Hungary, Scotland, Japan and China. Her most recent commission for Edgelandia, supported by Penned in the Margins, was created just days before the first lockdown in the UK. As part of urBAN, she is currently exhibiting a photograph of her most recent commission on a billboard on New England road.

Process

Supported by Hanningtons Estate