Art Modalities


New practices from Fine Art Sculpture, Brighton University

January 5th – April 13th

Thursday and Friday 10:00 – 14:00

Email: or call 01908 667750

Dukes Keep, Marsh Lane, Southampton, SO14 3EX

(Entrance in Dukes Lane)

Centric Community Projects presents an exhibition from the Fine Art Sculpture Course at the University of Brighton. The core content of the exhibition is work produced in 2015, added to this are new works produced in sympathy to this new ‘temporary’ site in Southampton.

“Contemporary art is often what occupies spaces after commerce has departed, or is yet to arrive” 1

The Sculpture course in Brighton is one of the highest regarded Fine Art courses in the UK, and one of the last with a Fine Art Specialism in Sculpture. To ‘sculpt’ is to cut, remove and alter the given world into a new vision, it is then consequentially a political, subjective response.

“Nothing, it would seem, could possibly give to such a motley of effort the right to lay claim to whatever one might mean by the category of sculpture. Unless, that is, the category can be made to become almost infinitely malleable”2

Sculpture now is a modality, to be considered in it’s broadest context, principally it is an ontological enquiry in time, space and materiality. Embracing computer technology, film, installation and socially engaged practices.

“A number of new and recent artworks use the metaphor of movement, and the movement of material, to make current configurations visible, whether for the purpose of resistance or critique”3

Sculpture is an object in the room, and one that has been removed before you arrived. A memory and a geological site. Pillars we can see and walk between and that hold up the ceiling. Other pillars we can’t see, these hold up values and belief systems for the economy, society, and our understanding of what is/was and, can be.

Graham Hudson

Exhibition Editor, 2015

1. Sishane Otopark; The Moving Museum, FRIEZE, March 2015

2. Rosalind Krauss; Sculpture in the expanded field, October, 1979

3. Kaelen Wilson-Goldie; The 56th Venice Biennale in FRIEZE, May 2015


Due to loss of some of our funding we were no longer able to afford to remain in our current office space. This meant staff were losing their office and meeting space, with no alternative place to work.

Shelley Black
CEO Fairweather