I left the round tray shaded with sand with the wineglass of sea water down on the beach.

I left Joanna at the top of the stairs and went to the beach, I stood on a pier and waited. I could hear nothing but waves and had no idea of time. Slowly I made my way with many turnings back to look where the sun sets. At last I heard the violin and reeled myself in.

Up the inside bannister I hit the cinderella shoe rapidly, remembering my high heels as a running Barbara Hepworth , then kicked it down to let it lie, the glass slipper left on the stair. A slow placing of the fragile stair black and white photographs and a closed eye descent, people moving out of my way, as I stepped on them. I rushed out to the green astroturf and rang the chimes before falling to the ground to listen, would I find memories, then return collecting those old ones and the shoe.

As if all those stair walkings had been a ghost I collected the tray and wineglass and proceeded to the cafe where with a spoon and water- filled glasses we improvised a glass song, then dividing I went outside, Joanna inside and walked along to the end, reflections in and out too. I searched for the hidden shell, to hold to my eye like a chalk tear, and looked back in, behind glass and odd. We both traveled back to the top of the stairs for a dash of guardian angel, cassandra, Ariel and seachange as north, south, east and west unfolded everyone’s directions. Then ascended to a viewpoint where I could see all floors and reach below, then through the new work, skin to skin I listened, before finding the old black stairs, the old fragile stairs, and floated backwards down them to leave.


I am doing a 7 day durational piece at the De La Warr Pavilion ending with two performances on September 28th at 3.30pm and 7.30pm.
I am using all parts of the building and outside to the sea.
This is following my 12 day piece made in the Library of Water in Iceland.( On my website you can see the blog and photos). I intend to be at the DLWP from early in the morning before it opens, through much of the time when it is open.
These water and architecture pieces are based around ‘directions’, ie north, south, east and west etc, so I use a compass.
In Iceland my two collaborators on that project sent me ‘directions’ from the UK, knowing the place.

After thinking about the DLWP I realised that I was overwhelmed with memoriesof the six years I worked there as an Artist in Residence and Outreach Artist, so my premise became, do buildings have memories?
I have asked collaborators who shared experiences over those six years to send me one ‘direction’ each.
It can be to do with the past, their memories of the place, anything.

The directions are from Jonathan Dove, composer, Katie Tearle, singer, Deirdre Gribbin, composer, Tamsin Currey, designer, Victoria Rance, Visual Artist, Caroline Collier, ex-director DLWP, Rowan Moore, architecture critic.

I thought I would give a couple of examples

face south east, walk 50 steps, stand for a long while looking at the horizon, allow 3 words to arise, in the building make 3 site responses to the words.

retrace every place in the building you have made a piece and recollect 1 movement from each event, make a piece with those moves, photograph it, then place photographs in the sea

slide down the staircase in 15 different ways then make a journey to the north

stand in every window and…

ok I hope that helps you to see how  open it can be.

I will keep the ‘directions’ in  envelopes unread. I will open one of them everyday.