Hastings is the overlooked jewel of the South Coast, branded with a reputation of dilapidation and down and outs; it is shunned by many and investigated by few - overshadowed by the glossy laines of its more boastful cousin, Brighton.

But hidden amongst the winding streets of this historic town lives and breathes a thriving art community. It is as part of an ambitious multi-national project, INTERFACE, which is running alongside Hastings’ annual Coastal Currents visual arts festival, that Bristol based Chloe Brooks is showing her latest instillation.

Continuing her on-going exploration into architecture and the identity of space, Brooks’ latest work lies hidden under the streets of the town, seeking to challenge the perceptions (either positive or negative!) of both residents and visitors alike.

Descending into the Harold Place Underpass which links Hastings town centre to the seafront promenade, you could just as easily be entering a Stanley Kubrick film as hunting for an artwork. With its numerous exists and concrete supports, illuminated by the beams of coastal light flooding in from the road, as well as menacing passages leading to underground car parks – this is a space that many might choose to avoid or quickly pass through without much contemplation.

Yet out the corner of your eye, a strange object jumps up from the shadows and calls to attention the passer by. At first, it is hard to know if this is part of the subway, a relic from a previous façade it once boasted before a more modern facelift covered its history, or whether it has been intentionally placed to invite further investigation.

The object in question is Chloe Brooks’ first work created outside the gallery setting and takes the architectural form of a Victorian Corinthian style pillar. Sitting awkwardly against the walls of the underpass, it never quite touches the ceiling but casually supports the damp air hanging above it. Sculpted from concrete, the pillar lurches awkwardly inwards, appearing integral to the structure of the underpass until it is gifted a second look.

The work, entitled Golden Gates & Floodlit Temples, is in itself a multi-part metaphor and reflection of the town in which it tries to support. Every street in Hastings seems to offer another row of beautiful Victorian or Regency houses; with their elaborate stonework and Roman influences they are all about style and pomp. Harking back to the golden age of the railways when new lines brought new found wealth to countless towns, Hastings quickly established itself as another suitable retreat along the south coast promising reviving sea air and good times. The sheer scale and number of architectural gems lining the streets plays testament to the towns lost period of status.

Yet turn another corner and a 1930’s concrete monolith rises up in front of you highlighting the way in which the town has been adapted and manipulated by each coming generation. Then of course, there are the numerous seafront amusements, bingo halls and slot machines whose flashing lights and golden archways draw in the slow moving tourists with the promise of easy winnings and good times.

So Brooks’ choice of style and material – concrete, Corinthian and of course a bit of bling, reflect on the colliding styles of Hastings itself. The concrete and Corinthian mirroring the different styles of architecture and the bling provided by the very fact an ornate pillar would not seem out of place holding up the road in many of Britain’s classic seaside towns. All these visual stimulations rolled into one pillar, which sits quietly waiting for another onlooker to consider its merits.

The decision to place the sculpture in the underpass cleverly juxtaposes the way in which the opposing areas of Hastings collide with one another – linking the modern concrete new town, with the Vegas wannabe promenade and eventually, to the quaint and ancient streets of the old town. No doubt this positioning is intended to catch out passers by, asking them to question and consider their environmental spaces and take a fresh look at the different influences and styles that make the town the unique place it is today.

This subversion of place and space using architectural influence is a mainstay of Brooks’ work and to me seems just as appropriate being placed out of the gallery confines and amongst the areas that influenced its creation in the first place. Clearly spending time researching the areas where she makes her work, this is reflected in the pieces themselves producing something that looks like it should and could have always existed, but at the same time is uncanny enough to let you know things are not quite right.

It is within this link of art and architecture that the works resonate and, in this case, to bring a smile and contemplation to an otherwise utilitarian and functional space. For me, this work acts as a sounding board for thoughts and reflections on Hastings itself. A town of two halves that has so much more to offer than initially meets the eye if only people would give it the time and attention.

Golden Gates and Floodlit Temples remains in situe, supporting nothing yet reflecting on everything until the 2^nd October 2011. Due to the nature of its location, it is accessible 24/7 and as the light changes within the space of the underpass, so does the nature of the piece.

Chloe Brooks is one of a number of artists participating in INTERFACE – a new collaborative project which has been timed to coincide with Coastal Currents. Its programme of artworks and events aims to mark the 20^th anniversary of Hastings' twinning partnership with Oudenaarde in Belgium. It sees Hastings artists creating new work in Oudenaarde while artists from Belgium, France and the UK show new and re-contextualised works in Hastings and St Leonards-on-Sea with the aim of re-evaluating public space and changing the perceptions of the inhabitants of both locations.

John House

For more information on Chloe Brooks, INTERFACE and Coastal Currents, please follow the links below:

www.chloe-brooks.co.uk
www.interface-2011.blogspot.com
www.coastalcurrents.org.uk