BEXHILL-ON-SEA.- The De La Warr Pavilion presents Right Here and Out There, an exhibition of new and existing works by Alison Wilding (b.1948) that unfolds inside and outside the gallery. Regarded as one of the UK's foremost sculptors, Wilding's abstract works use contrasting materials such as neoprene rubber, translucent acrylic, mirrored glass, alabaster and steel to create sensual juxtapositions which explore the complexities of perception.

The exhibition responds to the landscape that surrounds the De La Warr Pavilion and light that streams into it, showing a selection of works from the 1980s to the present and two new sculptures made especially for the site. It begins in the ground floor gallery, a space characterised by a huge window out to sea. Through it, a new work can be glimpsed: Docking, a pair of large lozenge shapes made from cast concrete, their sharp lines echoing the spaceship-like qualities of the Pavilion, an extraordinary example of pre-war, international style modernism unexpectedly located in an English seaside town.

Light is an important and active character in the exhibition: falling in through the windows of the gallery, it brings the outside in, collapsing the distance between the gallery and the landscape. Translucent elements in sculptures such as Red Skies (1992) and Drowned (1993) are activated by it, their centres glowing and then darkening again throughout the day, a contrast with the continual incandescence of Floodlight (2001). Together, these works form constellations across the gallery, with other works inhabiting shadows, or creating them.

Dark Horse (1983) is made from man-made neoprene rubber and Portland roach, a type of stone rich in fossils. By combining ancient and modern materials, Wilding’s sculptures create conversations across time and space, producing new experiences in the present. Dark Horse is the most identifiably figurative work in the exhibition: resting on the floor, it comprises a flat, black neoprene shape that loosely resembles an animal skin, a stone object that might be its head placed on top. Nearby, Locust (1983) resembles a shoot growing out of the floor: some form of nature invades the space, but the title given it alludes to a sense of menace.

Further works such as Tablet (2009), a series of cast plaster tablets, appear to ooze a dark substance - in fact, the suspect material is cast bronze. In Wilding’s hands, materials seem unstable, shifting shape and form, creating a series of subtle illusions. The exhibition is curated by Rosie Cooper, Head of Exhibitions at the De La Warr Pavilion, who says: "The sculptures give off a sense of time and space crumpled, a collapse that pushes us into the present, directly. Ancient and modern materials collide, drawing out streams of consciousness."