| On to The Church of
the Annunciation, well worth a visit in its own right, with
its handsome wooden roof and an altar window by Burne-Jones.
A pamphlet outlines the church’s
eccentric liturgical history and tells us that the 1930s
furnishings are the work of Martin Travers, “an architect
who specialised in making the interiors of Anglican churches
attain an ultramontane atmosphere”. I need a dictionary.
Currently residing in the ultramontane atmosphere are the
works of six Brighton Sculptors. These include Rochelle
Oberman,
whose cheerful bronze of her uncle Jack Lyons is understandably
not for sale, and Patricia Tyrer whose sad-eyed soapstone
Keeper of the Gate is very covetable at £175 (even
if they do make you get down on your knees to see it on a
1ft high plinth).
They have the builders in at 26 Lincoln Street, so it’s
brave of Stéphan and friends to admit the public.
There’s a bit of a dance theme here, with Brian
Parkin’s
colourful photographs of dancers in projected, patterned
light and Stéphan Silver’s dance sketches, but
I’m more intrigued by the work of Ilana
Levine: her
detailed pencil portraits, brash acrylics and jewellery seem
to be the product of three different personalities.
At the Hanover Community Centre the signs are almost as
entertaining as the art. A pink-nippled notice at the door
announces the Big Brighton Breastfeed on 20 May, while upstairs
a red “Fire Alarm” sign is positioned with its
arrow pointing only to the floor, a piece of surrealism worthy
of Magritte. On the same floor Rod Lee’s crude, white
plaster figures are apparently scarecrows with attitude (eg
'Scarecrow IV: The wage slave system drains our blood'),
so I’m
more taken by Alan Williams’s organic, triffid-like
metal lamps. There’s lots more here, but rush up to
the gallery to see Becky Reed’s lovely, fun jewellery.
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