Simon Roberts: Eastbourne Pier

Simon Roberts, Eastbourne Pier, Pierdom, 2014

Eastbourne Pier, from the series Pierdom, Simon Roberts, 2014

Resource Area – Second Floor

One work, Eastbourne Pier,  from Simon Roberts Pierdom project is on display at Towner. 

Photographer Simon Roberts has spent the last three years travelling the coastline of Britain photographing the last remaining pleasure piers for Pierdom. The project has culminated in a national touring exhibition and monograph, to coincide with the 200th anniversary of the construction of Ryde Pier in the Isle of Wight (the first of the British piers).

Pierdom is a broad architectural and ethnographical study of our coast, British society and the monuments of Victorian engineering and eccentricity. The pleasure pier follows the story of Britain’s relationship to the seaside, from the early links with the Romantics, to the engineering feats and technical advancement of the Industrial Revolution. Roberts documents the remaining piers using his signature landscape style, echoing the approach and tone of his acclaimed series, We English.

Simon Roberts (b.1974) is based in Brighton. He studied a BA Hons Degree in Human Geography at the University of Sheffield (1996), a subject which has informed much of his photographic practice. He has exhibited widely with solo shows at the National Media Museum, Bradford, Museum of Contemporary Photography, Chicago, and Museum of Contemporary Art, Shanghai. His work has been included in numerous group exhibitions and resides in major public and private collections. In 2010 he was selected as the official Election Artist by the UK Parliament. He has published three critically acclaimed monographs, Motherland (Chris Boot, 2007), We English (Chris Boot, 2009) and Pierdom (Dewi Lewis Publishing, 2013).

The photograph is accompanied by monograph, Pierdom (Dewi Lewis Publishing, 2013), which will be on sale at Towner for £35. The publication, designed by FUEL, contains a map identifying locations of all piers, an introductory essay by photography critic Francis Hodgson and an appendix containing a potted history of each pier.

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Supported by Flowers Gallery using public funding by Arts Council England through National Lottery 


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