The UK’s largest urban contemporary art exhibition
Find out more creativefolkestone.org.uk
Folkestone Artworks Folkestone Artworks, the UK’s largest urban contemporary art exhibition, is free and accessible 24 hours a day, 365 days a year. Sited outdoors around the town and harbour, the artworks pop up in both scenic and surprising locations. The changing exhibition, currently consisting of 74 artworks by 46 artists – including Tracey Emin, Antony Gormley, Yoko Ono, Mark Wallinger, Cornelia Parker, Bill Woodrow, Michael Craig-Martin and Ian Hamilton Finlay – offers an experience like nowhere else in the world: great contemporary art with an invitation to explore, examine and understand the town’s geography, history and potential future.
The Folkestone Artworks exhibition is a major cultural attraction, continuously ‘refreshed’ by Folkestone Triennial, which has been creating great media interest since 2008. The exhibition brings tens of thousands of visitors to the town every year, generating an economic return worth many times the investment made. It also provides a continuously developing resource to many local artists and educators - contributing significant weight to Bob and Roberta Smith’s view that FOLKESTONE IS AN ART SCHOOL. Folkestone Artworks is maintained and cared for by Creative Folkestone on behalf of the Roger De Haan Charitable Trust.
With only one or two exceptions, the artworks have been made by the artist with the specific site in mind, so the urban context is ‘borrowed’ to become a part of the artwork. The richness and ‘reality’ of this process creates a different kind of exhibition from those in galleries. For instance, Cornelia Parker’s The Folkestone Mermaid brings an international ‘mythologised’ perspective to celebrate a local woman sitting on a rock, alongside other people on the beach. Mark Wallinger’s Folk Stones were collected locally and embedded in concrete on The Leas, resonating with other adjacent memorials.
Each artwork represents a unique artistic insight. Some of the artworks (Emin, Wentworth, Pica, Woods) are ‘dispersed’ and can be found in more than one walk, but are described only in the first instance that they appear in this guide. Full enjoyment of the artworks and their context requires the time and attention only possible from a pedestrian viewpoint. While the artworks can be seen in any order, you may find these four ‘walks’ a convenient way to get around the exhibition.
A unique presentation of outstanding contemporary art, Folkestone Artworks also tells a variety of stories about the town. Some stories have already inspired brilliant artists; others come from residents and visitors who, inspired by the artworks, form a deeper appreciation of the town’s past, present and future, both conceptually and emotionally.
Each walk starts at the Folkestone Artworks Visitor Centre at The Clearing in Quarterhouse, Mill Bay, CT20 1BN, open 10am-5pm daily. Visitor Centre staff can provide information on the exhibition, advice on practical requirements, hot drinks and cakes. Toilets are available. Parking is available in Mill Bay car park, Payers Park car park or Tram Road car park.
Cover image: Richard Woods, Holiday Home, 2017. See page 22. Opposite image: Marc Schmitz and Dolgor Ser-Od, Siren, 2017. See page 23.
While the exhibition is on view 24 hours a day, 365 days a year, a small number of the artworks have restricted access either as a result of the opening hours of public buildings or physical conditions (e.g. tides). 3
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Studio Ben Allen, The Clearing (Visitor Centre) 2 Yoko Ono, SKYLADDER 3 Diane Dever and Jonathan Wright, Pent Houses 1-5, (3) 4 Nathan Coley, Heaven Is A Place Where Nothing Ever Happens 5 Jonathan Wright, Fleet On Foot, (10) 6 Diane Dever and Jonathan Wright, Pent Houses 1-5, (4) 7 Michael Craig-Martin, Folkestone Lightbulb 8 Diane Dever and Jonathan Wright, Pent Houses 1-5, (5) 9 Tracey Emin, Baby Things 10 Sinta Tantra, 1947 11 rootoftwo, Whithervanes: A Neurotic Early Worrying System (NEWS), (1)
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12 Amalia Pica, Souvenir 13 Diane Dever and Jonathan Wright, Pent Houses 1-5, (2) 14 Richard Wentworth, Racinated 15 Diane Dever and Jonathan Wright, Pent Houses 1-5, (1) 16 Amalia Pica, Souvenir 17 Amalia Pica, Souvenir 18 Strange Cargo, The Luckiest Place On Earth 19 Tracey Emin, Baby Things 20 Bob and Roberta Smith, FOLKESTONE IS AN ART SCHOOL 21 muf Architecture/Art, Payers Park 22 Rigo 23, Through The Glassworks and Earth’s Oldest Satellite 23 Yoko Ono, SKYLADDER 24 Richard Wentworth, Racinated
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25 Amalia Pica, Souvenir 26 Amalia Pica, Souvenir 27 Tracey Emin, Baby Things 28 Tracey Emin, Baby Things 29 Richard Wentworth, Racinated 30 Richard Wentworth, Racinated 31 Hamish Fulton, 31 Walks From Water To Water 1971-2010 32 Tonico Lemos Auad, Carrancas 33 Diane Dever and The Decorators, Urban Room Folkestone 34 rootoftwo, Whithervanes: A Neurotic Early Worrying System (NEWS), (2) 35 Lubaina Himid, Jelly Mould Pavilion 36 A K Dolven, Out Of Tune 37 Sol Calero, Casa Anacaona 38 Antony Gormley, Another Time XVIII
39 Patrick Tuttofuoco, FOLKESTONE 40 Ian Hamilton Finlay, Weather Is A Third To Place And Time 41 Tim Etchells, Is Why The Place? 42 Paloma Varga Weisz, Rug People 43 Richard Woods, Holiday Home 44 Richard Woods, Holiday Home 45 Sarah Staton, Steve 46 Tracey Emin, Baby Things 47 Michael Sailstorfer, Folkestone Digs 48 Cornelia Parker, The Folkestone Mermaid 49 Gary Woodley, Impingement No. 66 ‘Cube Circumscribed By Tetrahedron – Tetrahedron Circumscribed By Cube’ 50 Tracey Emin, Baby Things 51 Marc Schmitz and Dolgor Ser-Od, Siren
52 Bill Woodrow, The Ledge 53 Richard Wilson, 18 Holes 54 Richard Wentworth, Racinated 55 Adam Chodzko, Pyramid 56 Ruth Ewan, We Could Have Been Anything That We Wanted To Be 57 Will Kwan, Apparatus #9 (The China Watchers: Oxford University, MI6, HSBC) 58 Christian Boltanski, The Whispers 59 David Shrigley, Lamp Post (As Remembered) 60 Spencer Finch, The Colour Of Water 61 Yoko Ono, Earth Peace 62 Cristina Iglesias, Towards The Sound Of Wilderness 63 Richard Wentworth, Racinated
64 Pablo Bronstein, Beach Hut In The Style Of Nicholas Hawksmoor 65 Mark Wallinger, Folk Stones 66 Richard Wentworth, Racinated 67 Richard Wentworth, Racinated 68 Pae White, Barking Rocks 69 Richard Woods, Holiday Home 70 Richard Wentworth, Racinated 71 Richard Wentworth, Racinated 72 Tracey Emin, Baby Things
Mark Dion, Mobile Gull Appreciation Unit (Not in fixed location. Displayed at special events.) 5
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Starting on Tontine Street, this walk connects the earliest (geographic) features of Folkestone’s identity, with its industrial heyday in the century after the arrival of the railways. The Pent Stream formed a tidal inlet that sheltered the first fishing fleets; the remains of the stream were finally culverted in the 19th century beneath Tontine Street, which was developed for luxury retail shops – ‘the Bond Street’ of Folkestone. Following the course of the stream, this walk leads to the former village of Foord in the Pent Valley, which was industrialised after the railway arrived in 1842. Major features include the site of the former gasworks, the tallest brick railway viaduct in Europe, Radnor Park and finally, Folkestone Central Station.
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Folkestone Artworks Walk A The Pent Valley and the Railway
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Studio Ben Allen, The Clearing, 2017 Located inside Folkestone Quarterhouse. Accessible only during the buildings’ open hours. This immersive installation is an invitation to explore the feelings created by the vertical, tree-like forms. It is a primal human response to occupy or gather in the ‘clearings’ between the trees of a forest. The gothic forms are Anglo-French in origin, appropriate to Folkestone as maybe the historical arrival point for the master builders and masons from France who were employed to build the churches and cathedrals of England.
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Yoko Ono, SKYLADDER, 2014 Located inside Folkestone Quarterhouse. Accessible only during the buildings’ open hours. Ladders in symbolic tradition are a route to heaven, and for Yoko Ono the humble but self-supporting stepladder represents the imagination. The text is an invitation to imagine and create your own artwork.
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Diane Dever and Jonathan Wright, Pent Houses 1-5, 2014 (3) On the roof of Folkestone Quarterhouse. Inspired by Manhattan water towers, this family of five sculptures celebrates the Pent Stream by following its course hidden beneath the streets. Water is the main resource for life, and the now invisible Pent was the dominant geographic feature around which Folkestone’s history developed. Water is also a powerful symbol of inspiration and emotion in art, literature and religion. Nathan Coley, Heaven Is A Place Where Nothing Ever Happens, 2008 In 2008 Tontine Street was still the centre of Folkestone’s night-life, boisterous and a long way from heavenly. Its creativity is rather different today. British seaside towns are often associated with retirement and the idea of a ‘last resort’. The artwork seems to point up the paradox that the attractions of the ‘peace and quiet’ that is often cited as the most essential ingredient of a satisfactory retirement could also play out as melancholy or sterile.
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Jonathan Wright, Fleet on Foot, 2017 Several locations along Tontine Street. The ten gilded vessels are scale models (3D printed) of the fishing boats currently operating from Folkestone harbour. The seven boats on poles are registered here, the three attached to buildings are registered elsewhere. The poles carry information about each boat, tide times and Plimsoll markings (Samuel Plimsoll died in Folkestone), which measure a boats’ displacement tonnage in fresh and in salt water. Tontine Street runs above the culverted Pent Stream – formerly the salt water tidal inlet where Folkestone’s first fishing boats were established. Diane Dever and Jonathan Wright, Pent Houses 1-5, 2014 (4) No. 4 originally stood at ground level in an empty lot, now 11-13 Tontine Street. On the roof of the building sits an architectural ‘ghost’ of the original sculpture. See page 8 for information on this series of artworks. Michael Craig-Martin, Folkestone Lightbulb, 2017 Folkestone Lightbulb stands at the gateway to the Creative Quarter. The image is composed using Craig-Martin’s stylish strong colours, and formally picks up on the curving façade and spiralling structure of the building on which it is placed. Conceptually the lightbulb suggests ideas, sustainable energy, ‘that moment of inspiration’, and expresses the essence of the regeneration that is happening around it.
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Diane Dever and Jonathan Wright, Pent Houses 1-5, 2014 (5) This Pent House is located behind The Cabin, over the brick-built, ‘gated’ mouth of the Pent Stream. See page 8 for information on this series of artworks.
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Tracey Emin, Baby Things, 2008 Mill Bay. Like their originals, Emin’s bronze casts of baby clothes are easily overlooked – they lie beneath benches or on the kerb, hanging on railings or discarded beside flower beds. The sense of loss a poignant reminder of the stress of caring for young children. In Folkestone, as in Emin’s home town of Margate, there are many young parents who lack emotional or financial support.
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Sinta Tantra, 1947, 2017 Candy pink, racing green and Wedgewood blue have been used to repaint The Cube building – all colours that the artist found in a poster dating from 1947, advertising holiday excursions by rail to Folkestone. Her composition of a circle and free-flowing broken lines of colour was inspired by the work of Ukrainian-born French artist Sonia Delaunay.
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rootoftwo, Whithervanes: A Neurotic Early Worrying System (NEWS), 2014 (1) On the roof of The Cube. In 2014 five Whithervanes were sited across Folkestone; two still continue to track the orchestration of fear in real time by monitoring internet newsfeeds for alarmist keywords. The Whithervanes revolve away from the geographic origin of each story, and they are illuminated by coloured lights, from blue through green to red, in response to the severity of the perceived threat.
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Diane Dever and Jonathan Wright, Pent Houses 1-5, 2014 (1) Sited near the Chalybeat Spring and former Bath House (now FOCO club). See page 8 for information on this series of artworks.
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Amalia Pica, Souvenir, 2017 Gasworks wall. See page 10 for information on this series of artworks.
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Amalia Pica, Souvenir, 2017 23 Broadmead Road. See page 10 for information on this series of artworks.
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Amalia Pica, Souvenir, 2017 Tontine Street. Decorative constructions of sea shells are found in shops and homes in seaside towns around the world, and often kept as souvenirs by holiday makers. The artist made her own shell sculptures – in a different cultural tradition – and some have been cast in bronze and placed around the town. While shell constructions are not often seen in public space or given the status of ‘art’ by those that make or buy them, Pica invites us to take another look through her celebration of this local (and global) tradition.
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Diane Dever and Jonathan Wright, Pent Houses 1-5, 2014 (2) This sculpture is sited at the inland extreme of the former tidal inlet, where a bridge crossed the Pent. If you look down Mill Bay from here, you can just see Pent House 3. See page 8 for information on this series of artworks.
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Richard Wentworth, Racinated, 2011 On the side of Citroën Wilmoths. Blue enamel signs pointing out specific kinds of trees and shrubs can be found placed around some promenades, alleyways and avenues. The texts on these signs read like a fusion of poetry and botany, highlighting the provenance of some of Britain’s non-native trees and underlining the way that the familiar and homely natural landscape of the town has been populated and shaped by migrants from other parts of the world.
Strange Cargo, The Luckiest Place On Earth, 2014 How do you think about the future? For most people, it involves the idea of luck. Can individuals or communities make their own luck? How else might they influence their destiny? This collaboration between Strange Cargo and local residents was conceived as a ‘monument to the future’ and neatly transforms a railway bridge into a ceremonial ‘lucky gateway’ to the town.
Tracey Emin, Baby Things, 2008 Beside a bench, at platform level in Folkestone Central Station. Accessible only during the stations’ open hours. See page 9 for information on this series of artworks. Bob & Roberta Smith, FOLKESTONE IS AN ART SCHOOL, 2017 Situated at platform level in Folkestone Central Station. Accessible only during the stations’ open hours. Invited to consider whether an art school should be re-established in Folkestone, Patrick Brill (aka Bob & Roberta Smith) realised that all the skills, knowledge and facilities required were already present – they just need to be recognised and appreciated differently. His artwork consists of the sign-painted ‘declaration’ that FOLKESTONE IS AN ART SCHOOL; and thirteen ‘pedagogical videos’. 11
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The Tram Road ‘spur line’, with its viaduct 20 over the inner harbour, joined the railway main line to the harbour station and the ferries. It carried not only the Orient Express, but many millions of travellers to Folkestone Central Station and from Europe, along with millions of troops during the two World Wars. The Urban Room stands where, from the 15th century, a bridge across the tidal inlet joined The Old High Street to the fishing Shorncliffe Rd village along the beach (now The Stade). This walk explores the relation between the ancient Bayle, with its 7th century priory, and the commerce and industry that grew to complement the earlier religious and fishing activity.
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Folkestone Artworks Walk B The Historic Centre
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Studio Ben Allen, The Clearing, 2017 Inside Folkestone Quarterhouse. Accessible only during the buildings’ open hours. See page 8 for information on this artwork.
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Yoko Ono, SKYLADDER, 2014 Inside Folkestone Quarterhouse. Accessible only during the buildings’ open hours. See page 8 for information on this artwork.
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Diane Dever and Jonathan Wright, Pent Houses 1-5, 2014 (3) On the roof of Folkestone Quarterhouse. See page 8 for information on this series of artworks.
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muf Architecture/Art, Payers Park, 2014 This slope surrounded by carparks historically had many uses, including as a rubbish dump. Between 2012 and 2014 muf worked with different local groups to design a park for a variety of uses and users – creating in the process a new social space. The key principles were to keep the design ‘low-tech’, to encourage and allow all actual and potential users into whatever creative activity they could imagine; and secondly to keep it ‘open’ for multiple simultaneous uses, so that different groups could intermingle. Rigo 23, Earth’s Oldest Satellite, 2017 The façade mural is addressed to the neighbourhood of Tontine Street as a whole, and points to an elusive target, both near and far, familiar and foreign. ‘Crying for the moon’ is an expression about the hardship of aspiring for something that is always beyond our reach. Through reminding us that Earth’s closest neighbour may as often be beneath our feet as above our heads, this artwork offers some comfort. Rigo 23, Through The Glassworks, 2017 The courtyard mural was painted when The Glassworks building was a Sixth Form Centre. The ‘long view’ of the town was intended as an invitation and inspiration to students to make their mark on Folkestone’s cultural landscape: the painted billboards (initially referring to the Triennial title double edge) were to be re-painted twice a year to allow for student participation – recurrent self-expression.
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Yoko Ono, SKYLADDER, 2014 Inside Folkestone Library. Accessible only during the buildings’ open hours. See page 8 for information on this artwork.
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Walk B – The Historic Centre Richard Wentworth, Racinated, 2011 Opposite Grace Chapel. See page 11 for information on this series of artworks.
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Amalia Pica, Souvenir, 2017 The side of Folkestone Museum/Town Hall. See page 10 for information on this series of artworks.
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Amalia Pica, Souvenir, 2017 Easthope Stained Glass. See page 10 for information on this series of artworks.
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Tonico Lemos Auad, Carrancas, 2011 This collection of sculptures in the inner harbour (and one by the ramp in the outer harbour) were inspired by the symbolic talismans believed to protect sailors and used as figureheads on boats in the artist’s native Brazil. The various good luck objects, in brick, chalk and wood, some attached to tall poles, are revealed and hidden by the flow of the tide.
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Diane Dever and Jonathan Wright, Pent Houses 1-5, 2014 (5) This Pent House is located behind The Cabin, over the brick-built, ‘gated’ mouth of the Pent Stream. See page 8 for information on this series of artworks.
Tracey Emin, Baby Things, 2008 The Bayle Pond was formed by the aqueduct rediscovered by St Eanswythe in the 7th century. See page 9 for information on this series of artworks.
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Richard Wentworth, Racinated, 2011 Churchyard. See page 11 for information on this series of artworks.
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Richard Wentworth, Racinated, 2011 Steps leading down to Road of Remembrance. See page 11 for information on this series of artworks.
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Hamish Fulton, 31 Walks From Water To Water 1971-2010, 2011 This artwork in the form of a map shows thirty-one of the walks that have been undertaken by the artist in traversing the United Kingdom, including his home county of Kent, and much of mainland Europe. He uses water as a marker and conceptual device for these walks to signal his concern for environmental issues.
Michael Craig-Martin, Folkestone Lightbulb, 2017 See page 9 for information on this artwork.
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Diane Dever and The Decorators, Urban Room Folkestone, 2017 Tram Road car park. Urban Room Folkestone (URF) now occupies a shed that once housed the town’s Visitor Centre. In common with other Urban Rooms around the country, URF is an ‘open’ place to study or remember the town’s history and debate its future. The collective behaviour of our community can shape the physical environment in which we all live, for better or worse, just as the condition of, and developments in, the built environment can affect the way people behave.
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rootoftwo, Whithervanes: A Neurotic Early Worrying System (NEWS), 2014 (2) On the roof of Rocksalt restaurant. See page 10 for information on this series of artworks.
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harbour (travel) represent two of 17 four identities (the other d Folkestone’s R d a e m two being military and fishing). Of the four, only the first remains a significant contemporary asset – Folkestone is still a beautiful place to live and work. The harbour has been transformed recently from a derelict industrial site to a lively post-industrial recreational public space, a transformation reflected in many of the artworks. Ch
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Studio Ben Allen, The Clearing, 2017 Inside Folkestone Quarterhouse. Accessible only during the buildings’ open hours. See page 8 for information on this artwork.
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Yoko Ono, SKYLADDER, 2014 Inside Folkestone Quarterhouse. Accessible only during the buildings’ open hours. See page 8 for information on this artwork.
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Diane Dever and Jonathan Wright, Pent Houses 1-5, 2014 (3) On the roof of Folkestone Quarterhouse. See page 8 for information on this series of artworks.
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Nathan Coley, Heaven Is A Place Where Nothing Ever Happens, 2008 See page 8 for information on this artwork.
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Jonathan Wright, Fleet On Foot, 2017 Several locations along Tontine Street. See page 9 for information on this artwork.
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Diane Dever and Jonathan Wright, Pent Houses 1-5, 2014 (4) See page 8 for information on this series of artworks.
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Michael Craig-Martin, Folkestone Lightbulb, 2017 See page 9 for information on this artwork.
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Hamish Fulton, 31 Walks From Water To Water 1971-2010, 2011 See page 16 for information on this artwork.
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Walk C – Waterfront and Harbour
Lubaina Himid, Jelly Mould Pavilion, 2017 The Boardwalk crosses the site of the former Rotunda amusement park which, until it was demolished in 2004, was filled with attractions and amusements. This pavilion is modelled on a Victorian ceramic jelly mould collected by the artist and decorated with her own coloured patterns. Sweet jellies became fashionable once Great Britain established its slave trade and sugar plantations. The artist’s tribute to the Black community here stands between the sea (and the Atlantic slave trade) and the sugar of candy floss and toffee apples fuelling the fun of summer visitors. A K Dolven, Out Of Tune, 2011 The bell held aloft on a wire above the beach is a 16th century tenor bell from Scraptoft Church in Leicestershire, which was removed from the church because it was out of tune with the other bells in the peal. Its site on the beach in Folkestone was intended to align with the tower of St Mary and St Eanswythe (Folkestone Parish Church) which dates back to the 7th century. It also ‘speaks’ to St Peters Church, clearly visible on the East Cliff.
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Sol Calero, Casa Anacaona, 2017 The artwork is intended as a place to interact with strangers and for informal activities by the sea – a kind of beach extension to the semi-public space of the Harbour Arm. The design and joinery were a collaboration between the artist and Folkestone’s young people and ‘creatives’. The brightly painted furniture and decorative panels were inspired by a stereotype: the colourful and relaxed ‘culture of Latin America’ (the artist is from Venezuela). Casa Anacaona was a co-production with Womad World of Art.
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Antony Gormley, Another Time XVIII, 2013 Visibility dependent on tide. Another Time 1999-2013 is a series of one hundred solid cast-iron figures, destined to be dispersed around the world: this one and the one at Turner Contemporary, in Margate are on loan. The artist intends them to “bear witness to what it is like to be alive and alone in space and time” and to “celebrate the still and silent nature of sculpture. The work is designed to be placed within the flow of lived time.” The figures stand within the ebb and flow of the tide, at times partly inundated.
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Patrick Tuttofuoco, FOLKESTONE, 2008 Folkestone used to be famous across Europe as the landfall in Britain of the celebrated Orient Express. In homage to the defunct train route, the artist undertook the journey from Istanbul to Paris and Folkestone, paying great attention to the social situations as well as the signage and promotional materials that he saw along the way. The design of the individual letters that compose the sculpture were each inspired by something that he saw or an incident he experienced along the way.
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Ian Hamilton Finlay, Weather Is A Third To Place And Time, 2014 Boats and the sea were strong themes in the artist’s work. Weather is especially important to people at sea, making a very real third co-ordinate to the inescapable circumstances of place and time. But the weather also has a symbolic or emotional significance, helping people express their feelings. It’s as if a world without weather would be without colour and two-dimensional. The artist died in 2006, so this work was realised posthumously courtesy of his Estate.
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Walk C – Waterfront and Harbour Tim Etchells, Is Why The Place?, 2014 This artwork in neon suggests the critical importance of travellers to Folkestone’s economy in the past. Repeated on both the ‘up’ and the ‘down’ platform, it creates a strong sense of ‘coming and going’. The full text reads: ‘Coming and going is why the place is there at all.’ As regards the future, coming and going is also characteristic of commuters.
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Michael Sailstorfer, Folkestone Digs, 2014 ‘On Thursday 28 August 2014, artist Michael Sailstorfer announced that he had buried 30 pieces of gold under the sand of this beach. A gold rush ensued over the subsequent days. We might never know whether all of the pieces of gold have been found.’ The artwork was created through a public event, and only public participation enables its continuing survival.
Paloma Varga Weisz, Rug People, 2011 The sculpture shows the heads of five people gathered like a bouquet of flowers in a cardboard wrapping. The title Rug People refers to refugees’ sentimentally valued possessions. Originally (when the station was still derelict) the bronze was also placed on a rug laid over the railway tracks, as if a flying carpet had just landed. The artist was responding both to her own émigré father’s story and the then abandoned railway station as a destination for displaced people who are often not valued in their adopted home.
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Cornelia Parker, The Folkestone Mermaid, 2011 The bronze sculpture of The Little Mermaid in Copenhagen harbour is one of the best known and most photographed sculptures in the world. Parker’s sculpture overlooking Sunny Sands quotes the celebrated original in the figure’s pose and location (on a rock by the sea) but is not of a mermaid. It’s a life-cast from Folkestone resident Georgina Baker, a monument of the people and for the people of the town.
Richard Woods, Holiday Home, 2017 (Pink and Orange) These one-third size ‘homes’ nestle in unlikely locations around the town, suggesting that no site is too small, difficult, or inconvenient for a holiday home. The media and housing industries constantly refer to ‘the housing crisis’, so increasing the price of land and accommodation. But the booming market for second homes shows that the so-called crisis of housing supply is in fact a crisis of economic inequality, sustained by the policies of successive governments. Many people have two homes, others can’t afford one.
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Gary Woodley, Impingement No. 66 ‘Cube Circumscribed By Tetrahedron – Tetrahedron Circumscribed By Cube’, 2017 Coronation Parade is a cliff-stabilising structure, something between landscape and architecture. The painter, Paul Cézanne proposed: ‘treat nature by means of the cylinder, the sphere, the cone’. Woodley enjoys the dialogue between geometric forms and material reality. Here, two pairs of geometric solids (four and six sided) are drawn through the ‘landscape’.
Sarah Staton, Steve, 2014 This personified (male) sculptural pavilion includes aesthetic references to the monumental public sculptures of Richard Serra and Henry Moore, as well as to the materials of the 1950s houses immediately behind it. Steve is set within a family of functional benches hybridised with planters – his ‘children’ – that grow typical coastal plants, some of which are edible.
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Tracey Emin, Baby Things, 2008 Community gardens. See page 9 for information on this series of artworks.
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Tracey Emin, Baby Things, 2008 Coronation Parade. See page 9 for information on this series of artworks. Marc Schmitz and Dolgor Ser-Od, Siren, 2017 The artists were inspired by the redundant technology of the ‘listening ears’ (early warning acoustic mirrors) along the coast at Denge (Dungeness). Although a little like a sea shell or animal horn, Siren is intended to look as if it has ‘landed from space’, evoking an unfamiliar, mythic or alien technology. It gathers and amplifies the sound of the waves and activity from Folkestone Harbour, and reminds us that a fog horn sounded until recently from the lighthouse. It can also become a megaphone to ‘speak back’. 23
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Studio Ben Allen, The Clearing, 2017 Inside Folkestone Quarterhouse. Accessible only during the buildings’ open hours. See page 8 for information on this artwork.
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Yoko Ono, SKYLADDER, 2014 Inside Folkestone Quarterhouse. Accessible only during the buildings’ open hours. See page 8 for information on this artwork.
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Diane Dever and Jonathan Wright, Pent Houses 1-5, 2014 (3) On the roof of Folkestone Quarterhouse. See page 8 for information on this series of artworks.
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Nathan Coley, Heaven Is A Place Where Nothing Ever Happens, 2008 See page 8 for information on this artwork.
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Jonathan Wright, Fleet On Foot, 2017 Several locations along Tontine Street. See page 9 for information on this artwork.
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Diane Dever and Jonathan Wright, Pent Houses 1-5, 2014 (4) See page 8 for information on this series of artworks.
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Michael Craig-Martin, Folkestone Lightbulb, 2017 See page 9 for information on this artwork.
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Hamish Fulton, 31 Walks From Water To Water 1971-2010, 2011 See page 16 for information on this artwork.
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Bill Woodrow, The Ledge, 2018 The sculpture’s architectural base sitting on a black puddle shape refers to the exploitation of fossil fuels for the development of the modern world. The figures of an Inuit and their ecological counterpart, the seal, represent an ancient way of life, standing on thin ice. Sited by the shore, the strong horizontals suggest the rising water level resulting from the disappearing polar ice caps – an iceberg melting into a pool of oil. Climate change, and its effect on people who are at the edge of change, has been a preoccupation of the artist for many years.
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Richard Wilson, 18 Holes, 2008 In 2008, the Rotunda amusement park on the sea front was in the final stages of being dismantled. As a kind of memorial to the end of an era, the artist was inspired to construct these three concrete ‘beach hut’ sculptures, recycled from the 18 holes of the crazy golf course sawn up into slabs and reassembled.
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Richard Wentworth, Racinated, 2011 Bottom of zigzag path. See page 10 for information on this series of artworks. Adam Chodzko, Pyramid, 2008 Under Leas Cliff Hall. The artist has often collapsed past, present and future in his enthusiasm for constructing alternative realities. Through fantasy, wonder and make believe, they compel us to reconsider our sense of place and community.
Ruth Ewan, We Could Have Been Anything That We Wanted To Be, 2011 This ten hour clock is the sole remaining example of several placed around the town in 2011. It is sited with a view of France, where, in 1793, the Republic abandoned the Gregorian calendar in favour of the Republican calendar, which remained the official way to reckon the passing of time for 13 years, with each day made up of 10 hours, ten days to the week, ten months to the year etc.
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Will Kwan, Apparatus #9 (The China Watchers: Oxford University, MI6, HSBC), 2014 The design of the three filigree screens is based on the organisational diagrams of the China-watching organisations mentioned in the title. Through the screens, you can often see ships carrying containers full of goods from China to ports in Northern Europe. The design of the screens refers also to the architectural chinoiserie that became highly fashionable among the leisured classes when Britain was rapidly industrialising in 18th century.
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Christian Boltanski, The Whispers, 2008 At four ‘memorial’ benches overlooking the Channel, actor’s voices read letters to and from servicemen in the First World War, who have passed through Folkestone on their way to the battle fields in France and Belgium.
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David Shrigley, Lamp Post (As Remembered), 2017 The artist invited Camille Biddell, an artist friend from Edinburgh, to visit The Leas and memorise, in just 40 seconds, one of these lamp posts. Back in Edinburgh, she created from memory this replica (the next lamp post to the left). The artwork plays with several ideas: the ‘draw’ of heritage; the images we make as a tourist; how memory and reality diverge; the value of ‘originality’, ‘authenticity’, ‘replica’ and ‘heritage’; and how all these can be changed or revived by a contemporary creative twist.
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Spencer Finch, The Colour Of Water, 2011 Like an Impressionist painter, Finch observed the everchanging tone and colour of the Channel over several weeks throughout 2010. Colour, light, perception, place and the act of seeing are key preoccupations for the artist.
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Yoko Ono, Earth Peace, 2014 As a frontier town, Folkestone has seen a great deal of military activity over the centuries and can aspire with the monarchs of the United Kingdom to be a ‘defender of the peace’. Ono’s message of peace is carved in stone and laid in the earth itself, but also beamed out over the sea as a message in morse code, and flies as a flag on International Peace Day. It pays respect to those who have died for peace throughout the ages.
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Cristina Iglesias, Towards The Sound Of Wilderness, 2011 Iglesias’ walk-in mirrored structure, clad with bas-relief resin foliage, leads to a window that allows visitors a chance to see an overgrown Napoleonic-era Martello Tower. This historic monument can be reached through a magical overgrown pathway.
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Richard Wentworth, Racinated, 2011 In Coastal Park. See page 11 for information on this series of artworks.
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Pablo Bronstein, Beach Hut In The Style Of Nicholas Hawksmoor, 2014. Could the architecture of leisure be more fun? Beach huts tend to be rather indistinguishable from one another stylistically, but the artist rose to the challenge by suggesting that “since the South coast is particularly lacking in English Baroque architecture…The idea is to plug a historical gap”. The artwork was produced by UP Projects with a grant from Creative Folkestone. Mark Wallinger, Folk Stones, 2008 This artwork is inspired by the millions of soldiers who embarked from Folkestone harbour to fight in France or Belgium during the First World War. 19,240 individually hand numbered stones signify the number of British soldiers killed on one day - Saturday 1 July 1916, the first day of the Battle of the Somme. To give a number to a pebble is a means to respect the dead, sometimes said to be ‘numberless as the pebbles on a beach’.
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Richard Wentworth, Racinated, 2011 Southcliff Hotel, The Leas. See page 11 for information on this series of artworks.
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Richard Wentworth, Racinated, 2011 On the railings. See page 11 for information on this series of artworks.
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Pae White, Barking Rocks, 2008 The artist was inspired by the thought that Folkestone’s regeneration, focused on housing and the High Street, should also take proper account of the many resident dogs and their owners. She identified and transformed this previously dilapidated piece of land, uncertainly related to a car park, into a pet park that caters for the needs of both, and does not neglect to pay due attention to cats either.
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Richard Woods, Holiday Home, 2017 (Red) Outside Independent Insurance Services, Sandgate Road. See page 22 for information on this series of artworks.
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Richard Wentworth, Racinated, 2011 Motis Estates, Sandgate Road. See page 11 for information on this series of artworks.
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Richard Wentworth, Racinated, 2011 Cheriton Gardens. See page 11 for information on this series of artworks.
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Tracey Emin, Baby Things, 2008 Sandgate Road. See page 9 for information on this series of artworks.
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The Clearing – Folkestone Artworks Visitor Centre at Quarterhouse Mill Bay, Folkestone, CT20 1BN Open Tuesday – Sunday, 11am – 4pm (and during Quarterhouse events) Closed on Mondays Tel 01303 760 750 Head here for an exhibition guide and map, details of our public programme, merchandise, café, accessible toilets and baby-changing facilities. Family, adult & critics’ guided tours Let one of our expert guides take you on a lively and informal exploration of the Folkestone Artworks exhibition. All tours are free, last for approximately 2 hours and numbers are limited to 25 people maximum. Booking is essential. For more information go to the Get Involved pages of our website creativefolkestone.org.uk Tours for schools, universities and groups For help planning your school, university, college or group visit, contact Tania McCormack on 01303 769 241 or email taniamccormack@creativefolkestone.org.uk Free family workshops Every other Saturday Block 67, 67 Tontine Street Drop-in, no need to book. For the full list of workshops go to creativefolkestone.org.uk Website creativefolkestone.org.uk View video and audio interviews with Folkestone Artworks artists, and find useful information on the best places to stay, eat and drink in Folkestone. Images by: Thierry Bal, Igor Emmerich, Manuel Vason
Keep in touch Be the first to hear about our upcoming tours, talks and events! Sign up to our email newsletters at creativefolkestone.org.uk If you have any comments or suggestions about Folkestone Artworks, please email us at info@creativefolkestone.org.uk Follow us We love seeing our visitors’ Folkestone Artworks adventures! Tag us in yours for a chance to be featured on our channels. /folkestoneartworks @folkartworks @folkartworks Wheelchair access There is wheelchair and motorised scooter access to as many artworks as possible, but due to the historic nature of the town, some artworks are less accessible. Please seek advice from the Visitor Centre at The Clearing. Donate Help us to keep the Folkestone Artworks public programme free for all. If you enjoyed the exhibition and have taken part in one of our talks, tours or workshops please donate on our website creativefolkestone.org.uk or text CREATIVEFOLKESTONE to 70085 to donate £3. Membership Become a Creative Folkestone Member and enjoy exclusive offers and discounts in Quarterhouse, Creative Quarter, Book Festival and special Folkestone Artworks and Folkestone Triennial events. Go to our website, pick up a leaflet or email membership@creativefolkestone.org.uk and join our vibrant community today.