photographs taken in an abandoned warehouse in Reykjavik during the Sequences VII: Real time Arts Festival earlier this year. Indexes of life of/in these spaces through associations of the discarded material left on-site. Traces of human presence, inducing a sense of pathos and curiosity.
Monday, 19 October 2015
Monday, 22 June 2015
photos of GRAVEL: notes from the other side of the fence exhibition at North West Cambridge studios with text below by curator Maeve Polkinhorn
Throughout the Residency David Kefford regularly created new configurations of found objects in his sculptures made from discarded items found on walks on the Gravel Hill Farm site. These sculptures almost seem to tremble with a sense of human vulnerability and sensitivity whilst also alluding to the constant presence of the development's processes and machinery churning at the landscape. There is a dramatic play with scale and pathos in Kefford’s work, along with a dry sense of humour.
Kefford states: ‘The work I’ve been making in the studio to date is small-scale, anti-monumental, definitely not built to last. It uses an economy of means and everyday resourcefulness, reflecting on systems of value while retaining an earthly simplicity - a mixture of urban detritus and germinating beings. I am interested in the latent potential of these unremarkable things that retain an authenticity to the site that they were found.’
Tuesday, 16 June 2015
To coincide with Aid & Abet's end of residency exhibition at North West Cambridge we published a limited edition book containing artworks by Sarah Evans and myself, a commissioned essay by Edward Shepherd and a selection of poems that I wrote during the year. We worked with designer Gareth Wild at Apropos and the book was edited by Maeve Polkinhorn. All photos above by Gareth.