
A view through Afloat, commonly known as the Doughnut, in Brighton.

A view through Afloat, commonly known as the Doughnut, in Brighton.


After the Marina Abramović at Saatchi Yates, we walked across the street and up some stairs into Smithson Plaza where, instead of massive land art (a different Smithson, I guess), we saw several sculptures by Charles Hadcock.

I get to marvel at her every day!
(sculpture by Charles Hadcock.)






Yet another geometric abstraction from the 2006 archive.





An art installation we came upon in phone boxes during open studio month. There was no other information and it was difficult to see into the booths but I did find this article which I think is about the same artist.


We visited Charleston in Lewes to see the Vanessa Bell exhibit. It was bookended by the Quentin Bell sculpture above and the Koak exhibit, below.


“The Dreamer (2025) presents a woman in suspension – self-contained, serene, and held in a peaceful dream state. Her body is sculpted in concrete, a material often associated with foundations and stability, yet here taking on a surprising tenderness and warmth. The figure reimagines Quentin Bell’s sculptural series of levitating women, and Louise Bourgeois’s arched figures, as an embodiment of powerful vulnerability and radical dreaming.”
– Ella Slater, from the brochure accompanying Koak, The Window Set.


At Owen Gildersleeve & Friends’ open studio we saw the work of cut paper artists (Owen Gildersleeve and Helen Ferry).

We went to the Hove Museum of Creativity largely to see Beside The Sea: Photographs by JJ Waller and Martin Parr. Scroll down almost halfway through this history of the museum building to learn about the inscriptions on the Jaipur Gateway, shown above (the post’s title is from the Sanskrit inscription).


Flight of the Langoustine, 2023, Pierre Diamantopoulo, MRSS
Foundry: Milwyn Casting; Fabrication: Art Fabrications

from the Towner website: Alicja Kwade, Continuum, 2023. Stainless steel, Blue sodalite, marble 142.7 x 123.8 x 26cm. Towner Eastbourne. Acquired with Art Fund support, with a contribution from The Wolfson Foundation. © Image below Roman März


“I Don’t Have Another Land is a contemporary text sculpture by the internationally renowned and Turner Prize-shortlisted artist Nathan Coley. Coley creates these monumental sculptures using existing phrases that come from overheard conversations, song lyrics, news report, books or any found text. I Don’t Have Another Land was a piece of graffiti found on a wall in Jerusalem in the early 2000s. The phrases used in Coley’s artwork take on new meaning in each place they’re exhibited.”
– from the Towner website




