08/03 – 08/04
New England Road, Trafalgar Street, Upper Hollingbury Road
‘Pause II” is a temporary exhibition on billboards around Brighton, showcasing new work by Judith Alder, Helen Goodwin and Simon Roberts.
The pieces reflect current events and circumstances in subtle and often poetic ways, exploring the more abstract or intimate narratives behind many of the issues 2020 confronted us with. Together they create unexpected, thought-provoking contributions to the urban spectacle, turning the street into a visual platform to encourage conversations around how we are experiencing our new reality living with Covid.
Cascade: Origins in Parallel
Judith Alder’s “Cascade: Origins in Parallel (2020)” is a large, blue red and white digital collage shown on a billboard on Upper Hollingdean Road. Featuring photographs of sculptural objects or “clusters” created by the artist, the piece explores growth, change and evolution in the natural and man-made world.
“I’ve recently been thinking about the origins of life, that improbable accident that brought together a combination of molecules in a stable enough formation evolving from simple clusters of proteins to form the complex ecosystems we recognise today. In the 21st century life seems to be taking another big step in the process of evolution: scientists can create and manipulate biological life, technology creates artificial life, and, through our new too-close-for-comfort experience of viruses we learn that there are some things which are neither dead nor alive”
“Impermanent Edge, Edgelandia (2020)” is on display on New England Road. Part of a piece commissioned for Edgelandia, an interdisciplinary initiative supported by Penned in the Margins, the photograph shows a chair, rescued from the artist’s small cliff-top wooden cottage in Skipsea, East Yorkshire. It stands on the beach in proximity to where the cottage once stood, before the cliff was taken and swept into the sea.
“The experience made me keenly aware of how communities are forced to resettle and share a sense of impermanence of place; how the earth is forever re-forming and moving, and yet there seems to be an invisible thread that appears to connect us to ‘fixed place’ through the stories and memories we weave into localities.”
Shrouded Statue #1
“Shrouded Statue #1 (Antonio Canova‘s Theseus and the Minotaur) (2020)” by Simon Roberts, was photographed at the V&A Museum while it was closed to the public during the second Covid-19 lockdown, and is on display on Trafalgar Street.
“I see my series of photographs of partially obscured, shrouded statues, are a meditation on this most significant time in our shared history, one that has been full of collective pain, fear, suffering and uncertainty. The work is a poignant metaphor for human fragility and the social isolation many of us are currently experiencing.”
Judith Alder is an artist and curator, working across a range of media and processes, including drawing, moving image and installation. Her work is often shown as collections or installations of objects, images and drawings animated with sound, light and moving image. She’s interested in how things grow and change over time and how science, nature and technology collide in today’s world and often works in collaboration with experts from across the fields of the arts, sciences and humanities. Judith Alder is the founding member of Blue Monkey Network and a member of a-n’s national Artists Council. Her work has been exhibited at the University of Bath, Bow Arts, the British Academy and Brighton University.
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.
Simon Roberts is one of the most acclaimed contemporary photographic artists working in the UK today. He has published and exhibited widely and his photographs reside in major public and private collections, including the George Eastman House, Deutsche Börse Art Collection and V&A Collection. In 2010 he was commissioned as the official British Election Artist by the House of Commons Works of Art Committee to produce a record of the General Election on behalf of the UK Parliamentary Art Collection. He has published several monographs including Motherland (Chris Boot, 2007), We English (Chris Boot, 2009), Pierdom (Dewi Lewis Publishing, 2013) and most recently Merrie Albion- Landscape Studies of a Small Island (Dewi Lewis Publishing, 2017).