David Kefford

Disturbance of Expectation

2012-02-12T13:07:00.000-08:00

On friday night CJ and I had a few people over at Aid & Abet to take a look at what we've been getting up to during the cold winter months in the studio. It was an informal event, mainly for us to test a few things out and get some critical feedback (although we may eventually decide to open this up to a public audience in the coming weeks before the official launch of the Bibliotheque on Sat 31st March). We have been playfully intermingling our work - setting up new relationships - assembling stuff in contingent arrangements. Some surprising connections occurred and 'conversations' between works depending on proximity and association. I spoke to Lisa and Andrew about how I prefer the 'encounter' of an artwork to be based on a visual experience rather than it being pinned down to words/text - what it feels like like to approach a physical thing, move around it, explore it, beyond the surface.

I'm back at UH tomorrow with the BA students working on a collaborative installation project. We'll be creating installations using various materials based inside college and outside on campus, changing the contexts for the display and disturbing expectations.

His and Hers

2012-02-06T04:08:00.000-08:00

Materialist Ritual: Mike Kelley

2012-02-05T03:37:00.000-08:00

".....gap between art and life, creating an abstract composition transmuting the emotions poured into these objects by their many former owners into a new language that, like art itself, exists on the edge beyond words, in an uncanny archaic place well within the realms of ancient and current strangeness."

Read the whole article by Jerry Saltz here

I was fortunate to see Mike Kelley's show at Gagosian NYC in 2005, which Saltz describes as a 'Clusterfuck Aesthetics'. I remember it being a totally disorientating experience - a visual and aural overload of absurdist art at it's best. I kept going back during my short stay.

http://www.gagosian.com/artists/mike-kelley/

Adhochism

2012-02-03T02:02:00.000-08:00

I've been trying to get a copy of this book. There are two left on amazon and cost £299.97 each.
Anyone know where else I might be able to buy it for alot cheaper?

"But a new mode of direct action is emerging, the rebirth of a democratic mode and style, where everyone can create his personal environment out of impersonal subsystems, whether they are new or old, modern or antique. By realizing his immediate needs, by combining ad hoc parts, the individual creates, sustains, and transcends himself."

http://tmagazine.blogs.nytimes.com/2011/08/02/off-the-shelf-adhocism-a-case-for-improvisation/

download a poster/handout from

http://jessicacharlesworth.com/2011/adhocism-poster/

The language of Materials

2012-01-30T14:15:00.000-08:00

selection of recent work

Well into the twentieth century, the material and its meaning were viewed as the most inferior aspects of an artwork. It was the idea that was essential, the concetto. In his Theory of Forms, Plato judged matter, or physical material, to be a "necessary evil" for the depiction of an idea. Materials should merely be durable and not overly precious, so as not to "deflect attention form the artwork, which was represented solely in the creative form and the artists idea."

It is only in the last few years that art history has begun to establish an iconology of materials. This new field of study attempts to account for the wide range of mediums and substances used in contemporary art.

The semantics of materials are often unavailable to visual perception alone. In order to decipher them, one may need to know an artist's specific vocabulary. The study of an artist's creative process and treatment of specific materials provides a valuable perspective on the meaning of his or her art.

Taken from 'notes from the laboratory' p.131 by Christian Scheidemann in the catalogue for the Barney / Beuys exhibition, all in the present must be transformed at Peggy Guggenheim collection, Venice.

ipad sketch #1

2012-01-29T10:09:00.000-08:00

Little tableau

2012-01-29T01:51:00.001-08:00

From

http://homobilia.blogspot.com/2008/11/sculpture-studio.html

Bakers Dozen

2012-01-26T03:10:00.000-08:00

Bakers Dozen, for Re-Home at King's Lynn Arts Centre, which opened last Saturday:

A 12ft tall floor based sculpturalassemblage mimicking the shape, form and composition of the original artifact (egg stand)using simple and humdrum materials and low-tech processes. Taking the main structural composite of aseries of embroidery rings (13) and binding these together with tape, stringand covered in layers of paint and wax. Precariously balanced on a 3-legged stand and wedged over a central form consisting of many layers of plastic shrink-wrap. All held together with fine threads of redtwine.

Sports equipment

2012-01-23T14:51:00.001-08:00

Drinking Chocolate

2012-01-22T03:37:00.000-08:00

From the archives at Lynn Museum: Taken during the install of Re-Home last week

Photos, Postcards and Ephemera

2012-01-10T04:30:00.000-08:00

Came across the 'Public Collectors' website last night:

Public Collectors is founded upon the concern that there are many types of cultural artifacts that public libraries, museums and other institutions and archives either do not collect or do not make freely accessible. Public Collectors asks individuals that have had the luxury to amass, organize, and inventory these materials to help reverse this lack by making their collections public.

I was curious about the Photos, Postcards and Ephemera from the home of John Rininger, Chicago, IL, USA

See them all here

http://www.flickr.com/photos/27193825@N00/sets/72157622974180059/

modern day material

2012-01-08T09:14:00.000-08:00

A couple of screen shots from the CAD http://en.wikipedia.org/wiki/Computer_aided_design drawings from Derek. In the end we decided that the 3-D scanning device didn't achieve the best results, which meant painstakingly measuring the dimensions of the original object and building up the new image from scratch. Even though this is not a faithful representation it gives a simplified/minimal replication of the original artifact.
The next step is to make the model using rapid prototyping - http://en.wikipedia.org/wiki/Rapid_prototyping This will then eventually be cast in a rubber/plastic finish (modern day material) to make the multiples.

Derek has also just sent a j-peg of one of the hoops which he has sprayed gold:

Nexus

2012-01-06T14:15:00.000-08:00

An image from yesterday's experiments at Nexus. Derek has been working on the CAD drawings today. We are finalising these over the weekend ready for a prototype to be produced in time for install at Lynn Museum on the 16th Jan.

Dodgy Contraptions

2011-12-18T12:51:00.001-08:00

Spending a focused and productive time in the studio: mainly working on some new assemblages for projects next year. More on this soon. Even though A&A space is cold - its warmer outside than in - the loud music (Fight Like Apes, LCD Soundsystem, Animal Collective) and ridiculous layers of clothes I wear make it bearable.

The studio seems to be increasingly full of dodgy Heath Robinson-esque contraptions, which could set off at any moment, like a game of mousetrap. This piece in particular is held together by a taught bicycle tyre, ready to catapult..............

precarious path

2011-12-18T10:28:00.000-08:00

Whilst reading an introductory essay to 'In a Different Light' by Nayland Blake, he seemed to sum up and make some sense of (give confidence to) how/why I work in the way I do, which often seems like a precarious path to tread.

"It (queer practice) derives much of its aesthetic strategy from Fluxus and punk, producing ephemeral, funky objects that seem thrown together. Many of its forms are skewed, floppy and tenuously made. At those points where it has recourse to rigorous craft, it often does so as a sort of drag: wearing the mantle of authority as a way of deflating the power of that authority. Often the artists involved in making this work are operating in a variety of formats and employing several different distribution strategies. Many of these artists not only show work in galleries, but also work as activists or care givers. They make up the staffs and boards of nonprofit arts organisations, they are educators. They publish 'zines', write stories, perform. These roles are important because they demonstrate queer artists coming to consciousness at many different levels of the art complex."

Page 25-26 In a Different Light: Visual Culture, Sexual Identity, Queer Practice

Ride a Cock Horse

2011-12-11T06:55:00.001-08:00

Ride a cockhorse to Banbury Cross,
To see a fine lady upon a white horse;
Rings on her fingers and bells on her toes,
She shall have music wherever she goes.

The relevance of posting this Nursery Rhyme will hopefully become clearer next year.

Meanwhile, I have been continuing the R&D for a composite project in Kings Lynn opening in mid January.

It has led me to contact Nicola Naismith to ask for her advice on producing a multiple artwork from an historical artifact. She has much experience in this area following her residency at Hethel Engineering Centre. She wrote a great blog about her time there on Artist Talking http://www.a-n.co.uk/artists_talking/projects/single/622753/0/4/desc

Background to Project: Each of the six Aspire artists were invited to select an object from the Lynn museum archives and interpret it in two ways (for two venues). I selected this egg stand

Mainly for it's aesthetic and formal characteristics; not necessarily for itsformer life as a functional thing. I want to respond to the object in two distinct ways, which involve two different processes. One 'hands on' (low-tech) - this will essentially involve re-configuring/alteringa series of 'heads' from sports rackets (minus strings) - badminton, tennis, squash - and crudely joining these together to make a new formal arrangement. One 'hands off' (high-tech). Hence wanting to re-produce the object in a manufactured way rendered in a new glossy plastic material. I am learning new ways of working through this opportunity and was particularly keen on the idea of making a multiple artwork. This is something I have been wanting to do for a few years. Next step a meeting in Norwich with Nicola and possible visit to Hethel Engineering Centre to find out more about the manufacturing process......

"The physical manifestation of knowledge is skill, where materials and tools are physically manipulated to create objects."

middle class suburban

2011-11-26T02:26:00.001-08:00

Two studio visits within the space of two weeks and many questions these have provoked:

what is the work made from?
do you work in a series?
what about the scale?
how does your work fit with current trends/historical context?
Are these important?
I recently read an interview with a band called, Real Estate, who talked about not having (needing?) a 'thing', just commenting (musically) about their relationship with their surroundings (middle class suburban New Jersey) in a very ordinary way. Things they know, understand,were brought up with. There seemed something understated/refreshing about this.
I've been questioning the sort of materials I use, from very domestic items to sports equipment. gender specific? also a mixture of art and non art materials / a tendency to substitute paint with cleaning/body products, which are smeared onto surfaces rather than painted.
Received the first draft from the critical text, which is being written for a book with MP next year. It doesn't hold back and gets to the core of my work/ideas as I'd perversely hoped it would. It has disturbed me; mainly because it reveals so much about things I often try to suppress.

Challenging Nature

2011-11-25T08:32:00.001-08:00

I came across this review of the recent Sluice Art Fair on Artlyst, which mentions Entrap and it's "challenging nature"
http://www.artlyst.com/member-articles/sluice-art-fair-review-15th16th-october-26-south-molton-lane-london

open studio

2011-11-22T13:54:00.001-08:00

I will be opening my studio along with CJ and Sarah on Saturday (tomorrow) as part of The Collected and The Collectable at Aid & Abet. It's taken us a while to embed ourselves into the space but it finally feels activated. I also have a couple of collage pieces in the back gallery, which were bought from The London Collective a while ago. There is a pay bar between 5pm until 7pm.

more info here

November Pavilions

2011-11-19T03:27:00.001-08:00

It is the opening day of November Pavilions in Norwich where I am showing a new framed drawing and collage work:

An exhibition of work for saleby over 50 contemporary artists
OpenSaturday 19 – Sunday 27 November12noon – 6pmPitt StreetNorwichNR3 1DE

November Pavilions

In November Eastern Pavilions presents a series of events in Norwich, Cambridge and Ipswich that will offer works for sale by some of the regions' most exciting and innovative contemporary artists, working at the forefront of their field.The media of work on display will include painting, sculpture, photography, print, installation and moving image.

This will be an opportunity to invest in the creative future of the region, supporting the artists who live and work here and some of the organisations that support them.

On Monday the installation of The Collected and the Collectable begins at Aid & Abet in time for the opening on Thursday:

The collected and the collectable;an exhibition of works from the collections of six art collectives from across the country alongside works for sale by artists represented within these collections.

OpenThursday 24 – Saturday 26 November12noon – 7pm

Aid & AbetStation RoadCambridgeCB1 2JW

CRAFT (starring Beales Babe)

2011-11-13T06:26:00.001-08:00

more information here

2011-11-05T04:52:00.000-07:00

Planning to get to see the last day of The Museum of Everything's Exhibition #4 & #4.1 tomorrow at Selfridges, featuring the work of self taught artist Judith Scott:

One Minute Volumes

2011-11-05T04:33:00.000-07:00

future and previous screenings of One Minute Volume 5:

One Minute Volume 5 will be screening at the Artists Cine Club at FACT (Liverpool) at 6.30 pm on the 25th January 2012. http://www.fact.co.uk/

One Minute Volume 5 will be screening at De Anza Experiment Film Exhibition on Dec. 2nd at 7:30pm

at De Anza College, 21250 Stevens Creek Blvd.,Cupertino, California (US) in the Advanced Technology Wing, lecture hall AT120

('The De Anza College Experimental Film Exhibition is a showcase of experimental cinema created by San Francisco Bay Area filmmakers, as well as, filmmakers from around the world')

One Minute Volume 5 screening at Vertical Cinema, Cardiff on 28th November, (Gwdihw Cafe Bar, 6 Guildford Crescent, Off Churchill Way, Cardiff, CF10 2HJ)

and past screenings have included:

One Minute Volume 5 screened at artists run space Aid And Abet , Cambridge Uk

at 6pm on 15th July http://aidandabet.co.uk/

One Minute Volume 5 screened (as part of the London Underground Film Sessions) at The Horse Hospital, London WC1 on Wednesday 17th August 2011

One Minute vol. 5 screened at The Museum of Club Culture at 5pm on the 8th October as part of GLIMMER The Hull International Short Film Festival

http://oneminutevolume5.blogspot.com/

ALSO:

there will be screenings of One Minute volumes 3, 4 and 5 at Peloton Gallery (25 Meagher Street Chippendale, Sydney NSW 2008) from 24th November to 17th December

http://peloton.net.au/e/one-minute-vol--3--4-and-5

The One Minutes are a series of artists' moving image programmes curated and distributed by artist filmmaker Kerry Baldry and have been successfully screened world wide in galleries and cinemas over the last 5 years. One Minute Volume 1, 2, 3, 4 and now 5 are programmes of experimental, oblique and poetic video featuring the work of a number of artists at varying stages of their careers. A myriad of approaches, techniques, media and processes have been employed, creating elusive, challenging and memorable work. All have one thing in common: that they have been edited within the time limit of 60 seconds.

Fluid and contingent

2011-11-03T07:05:00.000-07:00

some images from the sculpture project I am currently running at UH.
A focus on encouraging the first year FA students to think about the action of making sculptural assemblages/installations using discarded and 'to hand' materials in an improvised manner. This is a completely new way of thinking/working for most, if not all, of them. Yesterday mornings session was quite performative and eventful - each of us introduced items to the installation space in a shared and cumulative process.

observe - Actions ////////
Perform - Works ///////

Sausages

2011-10-19T10:17:00.001-07:00

Cover Up

2011-10-19T02:18:00.001-07:00

I gave a talk about CRAFT to members of the Kings Lynn Art Society (I think that's who they were) last night.

Having had a glass of wine, or two, I encouraged them to interact with the installation. After a nervous start they got into it and in the end stayed for quite a while, which must have delayed their AGM. They seemed to enjoy themselves!

During the day I had introduced some colour to the construction using some old tins of paint that were going to be chucked out.
Today we finally get to experiment with some time-lapse footage.....

Crushed

2011-10-18T01:22:00.001-07:00

Last week when I arrived at KLAC 'Beales Babe' had been 'crushed' under the weight of the giant polystyrene cube. So, I'm curious to see what I encounter this morning. I will be using more 'messy' materials today - paint, plaster and poly-filler. And the whole thing gets shifted and moved again. Ben is also making an independent wall collage and editing the snippets of film.

Below: selection of images from Aid & Abet's presentation at Sluice Art Fair last weekend. Featuring work by Martyn Cross, Alex Pearl, Emily Speed and myself.
More info can be found on Market Project's website:

http://www.marketproject.org.uk/

proxy

2011-10-10T13:56:00.000-07:00

Selected documentation of the performance event at Aid & Abet, Manual for Exhibition by Proxy, on Saturday.

"On the morning of 8th October a representative of Spike Island Associates will journey from Bristol to Cambridge in possession of a Manual to be delivered by hand to a proxy at the premises of Aid & Abet.Contained within this Manual will be instructions for the production of an exhibition by Sovay Berriman, Maia Conran, Hannah James, Samuel Playford-Greenwell and Marie Toseland.
From 2pm on the stated date the proxy is to follow to completion all instructions within the manual."

Rosy was a brilliant Proxy
it took her until 9.30pm to complete each work
which are now on display in the space

stripped back

2011-10-05T13:31:00.000-07:00

Some more images from the evolving and changing dynamics of CRAFT - a live collaborative studio/project

I'm not sure if this kind of documentation gives the best record of the activity, because it changes on an almost daily basis - a bit like the workings of a studio.

- From the chaotic images where lots of people have contributed in an intense and overloaded manner to the more distilled and quieter moments when everything has been stripped back to a more minimal aesthetic.

The challenge for me has been allowing other people into the process, relinquishing ownership and letting go. This has led to some surprising results - some successful and some not so. One of the highlights has been watching two men very carefully stack a set of 78" records into a pile nearly 2 metres high.

Also allowing some time to reflect on the sculptural/formal qualities of the installation, hands-on making and materiality of the stuff before everything gets demolished and re-constructed.

There are a set of basic instructions in the gallery explaining how the audience can get involved while I am not there and through continually donating new objects.

Wedge

2011-10-04T01:23:00.001-07:00

Back at KLAC yesterday and today. Dismantling/re-configuring the chaotic installation - the result of the opening w/e and further input from visitors during last week - It took a while!

Good to see the space clear again and revisit with fresh eyes and thoughts.

Unexpectedly a group of reception children from a local school dropped by and we had fun talking about the work. They made some fantastic, imaginative drawings.

I managed to wedge the large chunk of polystyrene from the White barn into the front of the boat and this now becomes the focal point of reference for further work today.

A group from a nearby Pupil Referral Unit will be offering their input, so should be a lively day ahead.

"The central idea of a social sculptor is an artist, who creates structures in society using language, thought, action, and object."

Repetition Repetition

2011-10-03T01:34:00.001-07:00

Repetition Repetition

Below: A few images from the opening of space exchange ( a couple after everyone had gone home) on fri and The Royal Standards jam packed installation featuring 72 artists. Really nice atmosphere. Thanks all who came on a balmy autumn eve.

Although we need to sort out the lighting in the back space (perhaps a bit too atmospheric - torch anyone).

Also went to the opening of Intervention Intervention at Fishmarket in Northampton on thurs eve. Great to see some excellent new collages from Martyn - typically dark/humorous (look forward to seeing more of these at Sluice) and a fantastic sculptural/architectural intervention by CJ. Spatially stunning! Plus a striking large-scale wall drawing by Phil. The size of the gallery meant the work had acres of room to 'breathe'

Wrestling

2011-10-01T02:36:00.001-07:00

A selection of images from last weekend's collaborative installation of CRAFT for LAUNCH at King's Lynn Arts Centre.
Lots of people came and got involved in donating and selecting objects - introducing them to the readymade stage during the two day opening event. The space became lively and animated with peoples input. Some great and unexpected conversations/contributions.
I go back on Monday to re-start the process when I will be wrestling with the largest piece of polystyrene I have ever seen. The plan is to strap it to the top of the boat....

Dusty Dangle

2011-09-30T05:05:00.001-07:00

I've been re-united with 'Dangle Below' a piece I made a few years ago, and was exhibited as part of SALE at The Royal Standard. It's a bit dusty after all these years. It now forms part of The Royal Standard's fantastic sprawling contribution to Aid & Abet's third project Space Exchange (see below) which opens tonight - 30th sept - between 6-9

More info:

As part of Space Exchange at Aid & Abet, The Royal Standard presents an assortment of objects acquired by the organisation over the previous 5 years of its existence.

Since 2006 The Royal Standard has worked with hundreds of artists, curators and organisations through a diverse programme of exhibitions and events, performances, publications, artist residencies and offsite projects, alongside providing studio space to a wide range of artists and designers; a process which over time inevitably results in the accumulation of a multiplicity of stuff.

By re-examining and exhibiting this collection of abandoned artworks, loose ends and remnants of things that have happened at The Royal Standard, an order will be provided to our accrued mass of detritus. Questioning perceived notions of ownership and authorisation, acquisition and presentation, whilst quashing hierarchies between what may and may not seem important, the eventual ‘display’ seen during Space Exchange forming the basis of what will develop into The Royal Standard’s Permanent Collection

List

2011-09-25T01:07:00.001-07:00

A list Of items for CRAFT so far include:

2 x TV's
2 x deck chairs
1 x mirror dingy
Lots of off cut wood
1 x shelving unit
1 x set of golf clubs
2 x guitars
3 x washing up bowls
1 x washing rack
3 x flannels
Lots and lots of records ( mostly 78's)
1 x mannequin
Rope
Garden equipment
Children's toys
2 x pots of flowers
1 x pin board
1 x projector stand
1 x blue door
1 x water can
1 x camera
7 x empty pots of hand cream
1 x tarpaulin
Lots of ornaments
1 x kettle
1 x drain pipe
1 x plastic tubing
1 x brick
1 x radio
Lots of empty boxes
1 x card rack
1 x blanket

Beales Babe

2011-09-20T10:40:00.001-07:00

On the train after day 3 of CRAFT construction.
The gallery space is beginning to be transformed - a rudimentary structure has now been built to display all the objects that people have been donating ( after the call-out) - a stage like environment. Once the objects are introduced they are acting as protagonists in a 'work-a-day' theatrical drama. This 'live' installation process is similar to previous projects i have undertaken, especially the installation I made at Wysing in 2009 where I built a similar stage-like structure to assemble the sculptures on and around. I remember being dissatisfied with having to 'finish' the work and leave it on display (for 5 weeks) without further alteration or interference. I kept wanting to edit, add to and move things around, which is what I have in mind for CRAFT - I plan to regularly return during October where sculptures will shift and move. This whole procedure is collaborative - working with a core group of Aspire artists- and is being recorded; the films will be shown as integral to the installation.
The unexpectedness of the items I have received so far makes the whole process challenging. The relationship of each thing against one another provides surprising outcomes - a concentrated space of collected memory and physical snippets into the lives of others. E.g a single dumbbell sits below a stack of empty hand cream pots on a rickety old side cabinet. Whilst buying lunch I came across a redundant stack of shop display items including 'Beales Babe' - she gets to perform on stage tomorrow

10p sandwiches

2011-09-18T11:46:00.001-07:00

Some images from the first install day of CRAFT at KLAC. The boat just about managed to fit through the doors!
Thanks to John and his dad for building the shelving units to house the donated items people are offering and to Ben for helping to construct the temporary stage to place the sculptures on and around.
10p sandwiches from M&S kept us going throughout the day. I return tomorrow and all this week in the run up to the LAUNCH weekend (this sat/sun). The whole installation is a 'work in progress' and will continue to get altered, added to and re-arranged during October. Films are being made of performances/actions and will be shown towards the end of the project.

opening tomorrow: 15th September 2011

2011-09-14T07:12:00.000-07:00

more info here

Jean's Boat

2011-09-13T01:59:00.001-07:00

This is the boat that Jean has kindly donated for CRAFT. It will become the centrepiece for the sculptural installation at KLAC. CRAFT will evolve over the duration of 4-5 weeks culminating in a film screening of the work in progress (I hope to install a time-lapse camera). A leaflet has also been sent out to all the residents of Hillington Square to donate their unwanted items. It will be a collaborative process involving Aspire artists and the public. I'll post images and updates as they happen on this blog. First day is Sunday, when the stage is constructed and storage shelves are built.

Exhausted

2011-09-11T14:05:00.000-07:00

Back from an enjoyable time at the day-long event, Exhaustion and Exuberance, at Eastside Projects on Saturday, organised by Extra Special People. One of the highlights for me was watching the films put together by Annexinema, sitting on the 'double deck' chairs under the large-scale social structure that Will Cruickshank had installed for the days event. Aid & Abet had invited Will to create a 'space for people to gather and chat' and it worked perfectly for this context.

A stand-out film in the series was Junkopia:

Notes on Drawing

2011-09-06T01:18:00.001-07:00

Taken from a recent press release i received, written (i think by Andrew Hewish)
Drawing has associations with being fragile, or temporary, containing gestures that are as much fleeting ideas as they might be marks on the page. It recalls time. It can rely on networks, of points in space or page, that are necessarily connected in the completion of the work; points that make stories, pathways, or forms. It can be closely associated with the interior life of the artist, their passions and intentions, that can be subsumed by systems or processes, or engage a subtle negotiation between consciousness, technic and ground. We can connect, along the lines, the mindfulness, or otherwise, of the artist. It often engages directly the body of the artist, tracing their movement, allowing the viewer direct access to the record of its own making. It can love its own materiality. It can spectacularly stimulate our vision. It can graph data; write language. It can promote stages of development, or lyrical leaps of imagination. It can articulate imaginative space, or record observed space. It can draw on its own visual language, blending different traditions to forge new meanings. It is the exercise of imagination on line.

Inside RIG and some PULP

2011-09-04T05:08:00.000-07:00

I (sneakily) took this from inside Phyllida Barlow's new epic installation, RIG, at Hauser and Wirth on Friday. I never know whether galleries allow or don't allow photographs to be taken - I soon got told.
the immediacy of the work hits you as you step over the threshold, from the noise and chaos of the street and into a 'sea of man-made trees' with giant treehouses atop - the preacariousness of the installation and
sense of weight was frightening (it was illusion, they're made from polystyrene, not cement), but the sense of artifice in her work is everywhere. I was wearing a rucksack and felt very conscious of my body (with appendage) in relation to the stuff in each space - squeezing though gaps I wasn't sure I could. the lower levels were moody and compact, dark and dank - they smelled of the sewer. upstairs the paint smeared open cabinets, shelving units, pinball machine like objects echoed the wooden panelling on the walls - this building used to be a bank. I've always admired Phyllida's work and attitude towards her practice. I remember a studio visit I had with her at Wysing a while ago, which was totally inspiring. She had a wonderful way of 'getting to the core of things' and asking very ordinary, simple qustions about the 'stuff' in the studio. No fluff, no nonsense, just basic questions about sculpture and what it does/how it functions and how we relate to it. It's evident in all her work in the show - how we (the audience) relate to the work and how the work relates to each other and the space it inhabits. I remember talking to her about the action of making and how using certain materials to convey 'emotion' - how something is draped, suspended, positioned, wedged for example. I noticed a lot of aggression, anger?/ violence in some of the work - stabbing actions.with force - mixed with more gentle treatment and sensitivity.
After spending quite some time consumed in this 'other world' I took the overground to Brixton to pick up my model from MDM Props. An exciting moment to first see what it looked like! Nigel has been great talking me through the whole process - as I've said before this is all new territory for me. I then carefully carried this in a cardboard box to Futurecity offices in Bermondsey - it's amazing what curious looks you get from people whilst carrying a box with 'fragile' taped all over it.
From here I went to the opening of Pulp Fictions at Transition Gallery where I was expecting to meet a few of the artists in the show, but it turned out to be a full-on 'Tweet Up'. i got to meet so many new artists from having previously been communicating on Twitter. I also bumped into Ansel, who I haven't seen for ages. The show itself was delicately balanced and beautifully hung in a lo-tech way. Drawings huddled together in salon style clusters, forcing relationships to take place between seemingly disparate work. I came away thinking that Transition has got a great way of presenting work in between it being a commercial gallery and artist run - the Arty and Garageland magazines are also well worth the read.

grandaddy and a bit of panda bear

2011-08-31T14:06:00.000-07:00

Before Aid & Abet's next project, Space Exchange, which opens at the end of this month, I've been taking advantage of having the large main space to test out some assemblages (3D drawings?) this week - playing around with some of the objects/materials that lay around the outside of the building and that have been knocking about in my studio for months. These images are of a piece I made this afternoon, whilst listening to grandaddy and a bit of panda bear. it basically involved a lot of balancing and propping with the shrink wrap being delicately folded over the thin wooden pole. It was all precariously held together, always on the verge of collapse. it later got destroyed, reduced and re-configured into some simpler 'minimilsit' sculptures dotted about the space.

It brings to mind one of Allen Ruppersberg's 'Fifty Helpful hints on the Art of the Everyday' // 1985

collect, accumulate, gather, preserve, examine, catalogue, read, look, study, research, change, organise, file, cross-reference, number, assemble, catagorise, classify, and conserve the ephemeral

In other news, I go back to MDM Props on Friday to pick up the maquette they have made for the Brunswick Riverside commission proposal. This, alongside some drawings and proposals from the other artists will be on display to the public on 15th September. More info here

I'm also continuing to make some of the small-scale drawings for 'Trust' at KLAC, which opens later this month and which will also potentially be on show in a forthcoming art fair. More soon..........

temporary meets permanent

2011-08-21T09:05:00.000-07:00

Alongside making some Maquette's out of plasticine I've been preparing a kind of visual story board this weekend ahead of my trip to MDM Props on Tuesday. The research I've been doing has led me to question how my work will translate into a permanent piece of art for the public realm (and whether I want it to). I've been looking at other artists who have 'successfully' (or not) shifted their work into this area .

It's a potentially big step for me to take and new direction for the work to go into - A move to a bigger format, working with new materials, and therefore communication with new environments bringing about new conditions for reception and participation. Previously I've only ever made temporary installations using cheap, throwaway materials and objects (both outdoor and indoor) - which have generally been executed in a relatively quick and spontaneous process, relying heavily on improvisation. Now I'm needing to consider all kinds of things, not least longevity. My biggest concern is that it remains my work in terms of sensibilities and aesthetic - working to a brief can potentially mean that I get dragged off into territory I don't want to go into just to satisfy the commissioners (and I have at times). But I keep reminding myself to try and keep it simple and 'authentic'. Who says a three-dimensional object that meets the requirements of an autonomous sculpture, cannot be seating accommodation at the same time?
Amongst the online research I've also been adding to my sketchbooks, which are becoming more and more like visual diaries for future possible works/installations/environments.

My inbox has also been going crazy with applicants for the writing commissions and Advocacy roles at Market Project. It's been amazing how many we've received so far and of a good standard - it's exciting now to see who we might select to take the project forward. I've definitely been curious by some of the writers who've applied so far.

Lifeworld

2011-08-14T07:41:00.000-07:00

The lifeworld is the "world" each one of us lives in. One could call it the "background" or "horizon" of all experience, and it is that on which each object stands out as itself (as different) and with the meaning it can only hold for us. The lifeworld is both personal and intersubjective (it is then called a "homeworld"), and, as such, it does not enclose each one of us in a solus ipse - (the idea that only one's own mind is sure to exist.)

In between reading The Everyday by Stephen Johnstone, I'm packing my bag for a mini-break - camping for a few nights along the river Thames > West. I'm aniticipating making a few temporary works using found materials/things I pick up (i'll post pics on twitter if I do ) and doing some 'wild swimming' (my wet-suit is packed). I'm pleased to be drawn away from the screen for a few days...........

Chopper

2011-08-12T12:37:00.001-07:00

Some of the artefacts we viewed today from Lynn Museum ahead of a new project taking place there, KLAC and HillingtonSq in January next year with Aspire. More about this soon.....

Integrated ideas

2011-08-09T09:08:00.000-07:00

Continuing further research into the public art commission with FutureCity I've been designing some fairly ambitious fully integrated ideas to work with the landscape team. It's been challenging working to a brief: 'somewhere for people to relax and children to play' and always with the notion that it has to be 'permanent' and have a lasting legacy - for 30 years.

I have a feeling that i will reduce the scope of my initial ideas (trying to do everything) and focus on more of a discrete organic sculptural form(s), which can be used for both seating and play.
An organic (functional) sculpture transforming the public realm into a sociable aesthetic environment - challenging boundaries between art, play, leisure and life.

Once again I'm drawn back to the work of Franz West and the way he works between 'disciplines' and presents work in varied contexts, but with an underpinning consistent line of enquiry. I've just been reading an article on his show at Gagosian Gallery in Rome

“When I was younger, I thought it was all right to make the visitor uncomfortable,” West says. “But now that I am older it would not be correct because my problems have gone.”

I can relate to that.

Arendt: Not Knowing vs Not Thinking

2011-08-06T04:14:00.000-07:00

'the human capacity for action, for beginning new and spontaneous processes..... whose outcome remains uncertain and unpredictable....he who acts never quite knows what he is doing...... he always becomes 'guilty' of consequences he never intended or even foresaw'

The Human Condition

end?

2011-07-31T13:10:00.000-07:00

Pete Um playing the main stage

Babygrand playing Self Assembly

Art As A Full Time Hobby has now come to an end. The closing party happened last night. It was presented by bad timing under the title, Forever Under Construction, which seems an apt name for the project and location of Aid & Abet within the CB1 station development. It was a celebratory event with various local and regional musicians performing both in the Self Assembly nano-venue (purposely built by bad timing for AAAFTH) and in the main space. Loads of people turned up and it was great to be able to have a license bar. Aid & Abet are hoping to be able to collaborate with bad timing on something similar again in the future due to seeming popular demand.

forever under construction

2011-07-27T06:50:00.000-07:00

'Forever Under Construction'
Art As A Full Time Hobby closing party -- 7:30-10:30 Saturday 30th July
With C Joynes and Babygrand, cambridge BlueMan and Local Radio playing at Self Assembly and The Doozer, Pete UM and Jellica playing in the large Aid & Abet main space. With live visuals from possible area audiovisual. Plus licensed bar. £4.

and other things.....

2011-07-27T06:34:00.000-07:00

A selection of images from last saturday's workshop at 20:21 Visual Arts Centre
Materials and objects used include:
Domestic furniture
Lampshade
card stand
suitcase
curtains
carpet
hoover
plastic pots
washing machine
Bike
helmets
picture frames
newspaper
mop
foam padding
plinths
bags
umbrella
balls
toys
tape (lots of it)
cable ties
microwave
boots
plastic crate
string
wool
off-cut pieces of wood
plastic piping
fork
lilo
metal rack
wooden poles
and other things.........

Cheeky Star

2011-07-23T14:02:00.001-07:00

On train after an excellent time at 20:21, who did a great job at putting on a celebratory day of activities. By lunchtime the courtyard was busy with creativity

This lady enjoyed herself!

Nice also to catch up with and meet some of the other artists.
Will post some more images soon.

Two bikes and a dyson

2011-07-22T10:46:00.001-07:00

Selection of the donations from the residents of Scunthorpe ahead of the 20:21 10th birthday celebrations tomorrow, which includes two bikes, a dyson, microwave, lots of fabric, card stand, boots and off cut bits of wood. I couldn't resist getting started this eve and made a quick assemblage.

The stage is now set for a playful day tomorrow, re-configuring the items in a revolving process.
If you happen to be in the area, come and join in the activities!

unwanted objects

2011-07-20T10:00:00.000-07:00

Heading back up to 20-21 Visual Arts Centre on friday for a day-long (sat) workshop creating a large outdoor sculpture using other people's unwanted objects and materials, which have been donated over the last few weeks. A purpose built plinth has also been made in advance awaiting transformation. More details:

Celebrate 10 years of 20-21 at our birthday summer spectacular! Join us for a whole host of activities led by some of our favourite artists. The day will be actioned packed with free workshops and demonstrations including: puppet making, stop motion animation, mosaic making, gigantic junk sculpting, giant pavement art, drawing circus, street performers, graffiti, fashion show and much more.

Free event between 10am to 4pm. All activities are free. Suitable for all ages, under eights must be with a participating adult.

Like any outdoor activities I hope the weather is not too hot, not too cold and definitely not raining.

Art remains art

2011-07-19T01:58:00.000-07:00

Whilst continuing to research ideas for the commission proposal I'm currently working on, I came across this quote by Franz West, which seems to sum up recent thoughts:

"Early On I realized that the purely visual experience of an artwork was somehow insufficient. I wanted to go beyond the purely optical and include tactical qualities as well. My works aren't things one just looks at, but things that the viewer is invited to handle. There have been many theories of art that try to break down the border between art and the world, but I don't find such attempts to be particularly meaningful. Art remains art. I really see my work as quite compatible with the l'art pour 'lart philosophy. One may think that I try to bring the art object out into the world since my works sometimes appear to have a practical function, but really it's the other way around: things in the world can, under certain special circumstances, enter the realm of art. And, in fact, once they have entered this realm they are art." ---Franz West

front and back

2011-07-18T06:01:00.000-07:00

I'm working on a proposal for a sculptural intervention commissioned by FutureCity on a new mixed housing development in Cambridge. The brief is to create an 'activity area' within the public realm, which can be used by both toddlers and adults alike. The site is near the river, so my inspiration is generally coming from the narrow boats (and a long-term desire to live on one!) and time spent over the years walking along the tow paths. I may need to make a small maquette and the piece needs to be permanent - both territories, which are new to me.

Sand souvenir

2011-07-10T07:13:00.001-07:00

I joined the full time hobbyists making stuff at Aid & Abet yesterday. I couldn't resist interfering with Annabels sand souvenir:

In the morning I ran a zine making workshop at KY with Jane, where we invited participants to make multiple (3) zines in the short time we had......

The day was rounded off nicely with a wonderfully melancholic and witty fable from the majestic BirdBoy from Brighton

Put or Take

2011-07-07T14:57:00.001-07:00

Near to where I live someone has created this space outside their back garden fence. I occasionally walk past it but as yet have neither put or taken anything.....

Working out

2011-07-06T04:57:00.001-07:00

Quiet morning spent working out visual ideas in my sketchbook:

Now off to Wysing for a picnic.....

Stage

2011-07-05T10:33:00.001-07:00

Something happened...............

Running Amok

2011-07-03T03:08:00.000-07:00

AAAFTH has now officially started at Aid & Abet:
It kicked off with the panel discussion event hosted by Market Project on Thursday evening. I did my best to chair the proceedings, trying to keep it all steering in the right direction. It was great to hear from guest speakers, Michael Pinsky, Bob Lee and Henry Little about their experiences of making and buying 'difficult' work (i.e performance, temporary, digital,) and another insightful and informative discussion took place. The thing that has stuck in my mind is the notion of 'subscription' as part of the wider arts ecology, described by Henry from CAS (and which I've also heard mentioned by Sarah Thelwall at a recent Turning Point conference). I will write more about this on the Market Project website

MP members also had a great afternoon one-to-one workshop session with Paul Hobson from CAS, who was incredibly generous with his time and imparting useful information to each of us.

The main space has now been completely re-configured (all the chairs are now stored away) into a series of stalls and studio spaces with Alex Pearl's small robotic sculptures running amok in all directions. I've spent a great couple of days getting to know all the artists, Craig, Martyn, Annabel, Alex and Jo from Bad Timing who is setting up a temporary 'self-assembly nano-venue, which will host some solo performances. It's all lining up to be an exciting month, including the special closing event on 30th. More info here and keep up-to-date on Twitter

Dark Wit

2011-06-28T12:37:00.000-07:00

in spite of the intense heat yesterday and thunder and lightening storm overhead today the work is pretty much hung in the back gallery at Aid & Abet (thanks in part to a handful of volunteers). It may have something to do with the evening light, but there is a wonderful melancholic feel about it; not in an overly depressing way though, there are lightness of touches and plenty of (dark) wit and humour - a nostalgic snapshot into other peoples lives. Whether this is through the histories in some of the readymade objects of subject matter portrayed. It couldn't be as different to the first presentation if it wanted to be. it opens to the public this friday at midday............

2011-06-26T05:40:00.000-07:00

This week sees the opening of Art AS A Full Time Hobby at Aid & Abet with a panel discussion around Collecting the Uncollectable hosted by Market Project. I will be sitting on a temporary platform

chairing proceedings with Paul Hobson, Michael Pinsky and Bob Lee and hopefully an enthusiastic audience to discuss the challenges and opportunities for artists who make and collectors who buy work in digital, sprawling, multimedia, complex, fragile, performed, ephemeral media or formats that don’t fit the traditional view of artworks as unique and relatively small physical objects. I am currently going through the list of questions we would like to ask the panel, including the very straightforward - Is there such a thing as uncollectable work? Before the evening event each member of MP will have a one-to-one workshop with Paul, which I think will be useful

ReCollection

2011-06-26T04:17:00.000-07:00

my Sculpture 3-legged study, made in 2005 from an old coke can, cotton wool and plastic bottle top covered in paint, glitter and varnish will feature in this:

ReCollection

9 July - 17 August 2011
James Hockey & Foyer Galleries, UCA Farnham

'ReCollection' is intended to act as a springboard towards launching a formal collecting policy, bringing together an established focus on photography and exploring accidental relationships between works regardless of subject matter or medium. Curated by Lee Broughall and Phoebe Gardiner, the exhibition considers contrasting topics: of merriment and melancholy, the delicate and the rudimentary, the old and the new. This is a rare opportunity to view around 50 works from the UCA Collection, exhibited in pairs and groups that inform and influence each other.

The James Hockey & Foyer Galleries are public exhibition spaces. The aim is to present work of lasting educational importance, which will invite participation and contribute to the public and professional debate. Respect for the specialist appreciation of disciplines, media and techniques remains vital to the promotion of the arts at the Galleries.

Artists exhibiting in ReCollection

Mick Aslin
Charles Bartlett
David Blackmore
Colin Booth
Harold Cheesman
Alessia Chiappino
Adam Chodzko
Jane Clarke,Gregory Coates
Richard Cole
Jack Coutu
Barbara Crowe
Fleur Davies
Tacita Dean
Lizzie Espinoza
Nooshin Farhid
Stephen Farthing
Stephen Ford
Dicky Graham
Grennan & Sperandio
Matt Hamid
BJ Harrison
Mona Hatoum
James Hockey
Jan Hunter
Dr. Mark Ingham
Charlotte Jonsmyr
John Joyce
David Kefford
Peter Kennard
Ronald King
Leszek Muszynski
Damien O'Connell
Ben Parsons
Jonathan Parsons
Ben Rowe
Tim Savage
Mark Seiltz
Seamus Staunton
Ed Thompson
Ina Dorthea Thuresson
Matthew Topham
Susan Trangmar
Natalie Waite
Andrew Whamond
Edmund Whitaker
Caroline Woowat

Long after Tonight and into Tomorrow

2011-06-22T07:02:00.000-07:00

I went to the opening of Summer Fayre in Norwich last night:

5 formal presentations from 5 small, artist-led organisations based in the UK alongside contributions from:
Castlefield Gallery, Eastside Projects/Extra Special People, The International 3, LUX, Spike Island and
Wysing Arts Centre. Also featuring regional stalls from Kaavous/Bhoyroo, Stop Sharpening Your Knifes, YH485 Press and others.

above is a collection of editions by Kaavous-Bhoyroo including one of my little 'Individual's' under the shelf (at crotch height).
I enjoyed re-watching Matt Stokes beautiful film, Long After Tonight, which I could happily watch over and over again............

i also popped into the degree show and caught up with some of the students I had previously taught. They seemed a bit disillusioned with the 'what next?' question. (not sure if I would be comfortable being in their shoes again)

Fair in the Square

2011-06-19T11:02:00.000-07:00

Documentation of the recent event with Aspire in Hillington Square, King's Lynn. Above making cocktails at the Temporary Bar expertly constructed by Pete. During the 2 Days, Richard noted that:

120 burgers eaten, most self-made
120 pizzas, self-made
50 cup cakes, self-decorated
250 non alcoholic cocktails served
25 hair braids
15 hand massages
80 people participated in magic tricks
70 temporary tattoos
50 flag wishes
120 baseball throws
30 pieces of jewellery made
75 railings painted, with participation
50 cards with skills entered were posted
1 DJ span with skill
5 line dancers got in the groove

Thanks to all those who came along, participated and shared their skills. Already looking forward to the next 'Launch' event in September for the opening of Kings Lynn Arts Centre

2011-06-19T10:47:00.001-07:00

Preview of the fantastic flyer/poster for Art As A Full Time Hobby designed by Gareth Baylis and printed by Labute. It's for the next project at Aid & Abet, which I am co-curating with Sarah Evans; it opens on the 1st July and runs until 30th July with a last day event promoted and hosted by Bad Timing. Lots of planning and preparing still to do over the next couple of weeks...........

Uma

2011-06-11T09:29:00.001-07:00

Transitional Objects

2011-06-09T13:45:00.000-07:00

I managed to carve out some time in the studio last week to make a sprawling assemblage. Whilst listening to the soundtrack of Sonic Mook Experiment (from one speaker) I improvised with a sparse selection of materials, which included a couple of bicycle tyres, three plastic plumbing pipes and an old pallet; playing around with different combinations of materials and objects, propping things up, lying things down and precariously suspending from the ceiling struts with thin cotton, without any pre-conceived idea of what would happen. This process also involved a series of intuitive drawings with shrink wrap and talcum powder smeared over the surface using a deflated ball. A recording was made. I will continue to add to the piece over the next week, picking up new items as I find them.

Harmonic Whole

2011-06-06T05:51:00.000-07:00

During a recent workshop in the house at Kettle's Yard I noticed these little compositions out the corner of my eye. The concentrated quietness of the house (it wasn't open to the public at the time) provided an opportunity of having a good look at the understated, yet beautiful small scale arrangements with non distracted eyes. There's something about the backdrop of a domestic (yet public) space that seems appealing. And the relationship of the man made and organic.

At Kettle's Yard Jim Ede carefully positioned these artworks alongside furniture, glass, ceramics and natural objects, with the aim of creating a harmonic whole. His vision was of a place that should not be

"an art gallery or museum, nor ... simply a collection of works of art reflecting my taste or the taste of a given period. It is, rather, a continuing way of life from these last fifty years, in which stray objects, stones, glass, pictures, sculpture, in light and in space, have been used to make manifest the underlying stability."

I'm currently working on an open sculptural structure using clothes airers and ripped towels covered in soap. I will post some images here soon of work in progress

primal urgency

2011-06-02T14:00:00.000-07:00

off to see Un peu de tendresse bordel de merde! this saturday at Sadlers Wells.

it's a contemporary dance production by Award-winning Canadian choreographer Dave St-Pierre about the search for love and the human form. Using humour to tackle taboo subjects, it features 20 dancers, naked both literally and figuratively. A narrator leads the audience on a journey through their emotions as the performers leap with a primal urgency, or lie crumpled and defeated on the ground, before climaxing in a breathtakingly beautiful and moving finale.

I've been told that the dancers move about the audience, but our seats are in the first circle so we probably won't get sat on!

under one roof

2011-06-01T03:50:00.000-07:00

Reading through the article on Collaborative Relationships in this month's a-n magazine in which CJ, Sarah and I talk about setting up and running Aid & Abet, I realised it's been six years since I've had a Solo Exhibition. In the article I talk about how my practice has expanded beyond the private studio walls into more social territories, working with participants and communities through project based work. This is all true. However, I still maintain a studio practice, on a daily basis, even though this has meant working from a tiny back garden space in recent months (only since yesterday do I now have a larger physical space to make work). I think it is important that I remain aware of an audience (sometimes through direct engagement) - the idea that there is a three way relationship - Artist, Art Audience and that each one informs the other. For me there is no point spending time in isolation making things without anyone ever seeing them. The process of making and presenting act as vehicles of communication. I'm currently starting to talk to curators and galleries about putting together a selection of work under one roof.............

Weighed Down

2011-05-29T08:43:00.000-07:00

Documentation of an improvised sculptural environment in one of the corner spaces at the Aid & Abet warehouse, which I made last Wednesday afternoon while it rained loudly on the plastic roof -
a precarious three-legged structure using off-cut wooden poles with a deflated football pierced at the top. A bin bag covering this acted as a Face mask. Between the 3 wooden structures I hung a chain of curtain hooks, weighed down by 2 curtain pulleys. The three 'legs' were propped on top of some candles, which I lit for a short time. During the process I made some short super 8 films recording the actions and gestures

10 x 10

2011-05-24T09:07:00.000-07:00

An image of the work installed for 10 x 10 at 20:21 Visual Arts Centre:

21 May to 27 August 2011

10x10

Damian Cruikshank, Halima Cassell, Mhairi Corr, Richard Heeps,

David Kefford, Paul Matosic, Pete McKee, Tabitha Kyoko Moses,

Hetain Patel, Helen Snell, Susan Stockwell

To mark the start of our Tenth Birthday celebrations, 20-21 Visual Arts Centre is proud to present 10x10, a special exhibition featuring artists who we’ve worked with over the past ten years.

Accompanying his Balance of Being touring exhibition, Cambridge based sculptor David Kefford worked with young people on ‘All OK#5’ a sprawling and colourful installation in the courtyard at 20-21. David has created a new sculptural work especially for the exhibition.

I will return to Scunthorpe later on in the summer to make a temporary collaborative sculpture during a day long workshop using discarded objects from a local Leisure Centre.

'Dumb' Drawings

2011-05-22T04:35:00.000-07:00

I've made three 'dumb' drawings this morning. I was hoping for a clear and focused day in the studio to continue working on this series for 'Trust', but it just doesn't seem to be working out that way. Hopefully I'll get a chance to revisit these later...........
In the meantime, I've been updating my website text and CV, which has also meant looking through documentation from the recent Small Scale Survival project at Aid & Abet and having a moment of reflection in relation to all the events surrounding it. Including a great talk from The London Collective (image) with Annie Bacon.The next project, Art As A Full Time Hobby, which I am co-curating with Sarah, is shaping up nicely. We have nearly secured all the artists, collectives and musicians we want to work with during a series of events in July. Once again this will take us into new and exciting territory with the space being re-configured in a whole new way.
Art as a Full Time Hobby aims to celebrate the everyday ritualistic and often marginalized activities of an artist’s practice. The main project space at Aid & Abet will be sub-divided into a series of temporary platforms, stages and stalls where invited artists and collectives will present a selection of handmade objects, lo-fi films, self-published zines, prints, posters, banners and music nights during the 5 weeks.

Show me the Money

2011-05-21T08:47:00.000-07:00

It was Market Project's first public event, Show me the Money, last Thursday at MK Gallery. Around 50 people came from the eastern region and beyond to listen to a discussion about the Gallery System with particular focus on the different structures, funding and revenues of arts organisations today, from the grassroots and artist-led spaces to commercial and publicly funded galleries. Guest speakers, Cathy Lomax from Transition Gallery, Ed Greenacre from Rokeby and Anthony Spira from MK Gallery all responded really openly and candidly to a series of questions expertly posed by Annabel Dover from Market project and a lively audience. it provided insight into the different gallery networks and how each one supports or compliments the next (or not). Find out more and get involved here
I will be chairing the next event, Collecting the Uncollectable, which takes place at Aid & Abet on Thursday 30th June. We've confirmed Paul Hobson, Director of Contemporary Art Society as one of the guest speakers alongside two others tbc

Volvo

2011-05-18T10:42:00.000-07:00

A man in a shiny new Volvo came to collect the assemblage I've made for the 10 x 10 show at 20:21 this afternoon. He arrived a bit early and caught me slightly off guard. I hadn't quite finished wrapping it. So, while he waited and watched, I carefully placed it in a layer of bubble wrap. I'm not sure why, but I felt slightly uncomfortable doing this under his gaze. Is it because the work is of a (Miranda voice) 'sexual nature' or because it has a look and feel of being in an unfinished state? When I handed it to him he expressed his surprise that it was lighter than he'd expected.

21 May to 27 August 2011
10 x 10

20-21 Visual Arts centre will be celebrating its tenth birthday on 21 May 2011. Over that time we have held over 200 exhibitions, shown the work of over 500 artists and had over 400,000 visitors.

To mark the start of 20-21's tenth anniversary celebrations, we will be inviting artists who have worked with us on residencies and projects over the past ten years to present small works as part of our celebrations.

Including artworks by Halima Cassell, Mhairi Corr, David Kefford, Damian Kruikshank, Tabitha Kyoko Moses, Hetain Patel and Susan Stockwell.

MK Gallery – Show Me The Money

2011-05-15T06:19:00.000-07:00

MK Gallery – Show Me The Money

Since attending a retreat, The Economics of the Art System, at Wysing Arts Centre in summer 2009, I have been working with Arts Collective, Market Project, on researching professional and economic development in the art-world. Our first event takes place on Thursday at 18.30 this week at MK Gallery:

Show me the Money: How the art gallery system works

Speakers:Anthony Spira, Director MK Gallery, Cathy Lomax, Artist and Director Transition Gallery, Ed Greenacre, Director Rokeby. Chair: Annabel Dover, Market Project

This event will be of interest to artists and other arts professionals at any stage of their career, art students, and anyone interested in contemporary art. The speakers will examine how the art gallery system works, the structure of different arts organisations and the the reality of running them, from grassroots and artist-led spaces to commercial galleries and their publicly-funded counterpart, with a particular emphasis on their funding and revenue.

automatic hair

2011-05-09T06:24:00.001-07:00

from Wikipedia In automatic drawing, the hand is allowed to move 'randomly' across the paper. In applying chance and accident to mark-making, drawing is to a large extent freed of rational control. Hence the drawing produced may be attributed in part to the subconscious and may reveal something of the psyche, which would otherwise be repressed.

I find it difficult to be totally free and 'out of control' when drawing and think it is virtually impossible to just let things come from automatic thought. For me they are usually like 2-D spatial studies, sketches and visual workings out for future works in 3-Dimensions, but I also see them being works in their own right. They are made in a similar way to how I approach sculpture, assemblage, collage in that they are made with whatever materials are to hand and on whatever flat surface is available; rarely do I buy 'proper' art paper. Sometimes 'non' art materials like soap, hair gel, baby oil are used. I do try and rid my mind of thinking about what I make in advance, it's more about the reaction and process of the marks on the surface - scratches, blobs, lines, rubbings, doodles. So in this sense there is an 'automatic' or 'in the moment' feeling about them, "revealing something of the psyche, which might otherwise be repressed". Each drawing is usually made in one go, occasionally I will re-work them, but they're quite immediate like that.
Cycling home from town just now I equated how I approach making my work (drawing, sculpture, installation) to how I cook and buy clothes - generally with any economy of means. Whether I'm in a second-hand shop or supermarket I search for bargains, reduced items and BOGOF's (without a shopping list). Then, when it comes to cooking the ingredients or wearing the clothes I never usually work from a recipe or follow fashion. I make it up as I go along, seeing what happens when ingredients are added and garments are worn. Sometimes it works, sometimes it doesn't and gets thrown away or removed.

FOUND

2011-05-08T10:16:00.001-07:00

I've donated a framed drawing for this one-off Garage Sale. More info here

Raw State

2011-05-02T09:36:00.000-07:00

I've spent a low key bank holiday monday mainly drawing in the studio and working on the small sculpture (image) for 20:21, which is nearly resolved - I don't want to over do it and prefer keeping it in a raw state, with the glue, varnish, cotton wool and dangling paper clips all exposed. It's been tricky restricting the size to 40cm x 40cm x 50 cm (h) a requirement for the plinth and glass case it will eventually be displayed in. At times I've wanted to add extra height and more bulk, but with the way the materials have been assembled it remains quite fragile, in an in-between state of coming together and falling apart - it stands about 40cm high, so should fit the case ok.
The drawings are a different matter. I've allowed myself to go off on all kinds of tangents with these. Trying to be as 'automatic' as possible and ridding my mind of preconceived ideas - just seeing what happens (virtually impossible to do I know). Like a visual diary. Music from The Durutti Column may have aided this? i'll post a few images of the drawings next time.

intimidating

2011-05-01T08:28:00.000-07:00

Whilst I'm backing up files on my laptop (it's taken over 3hrs already), I'm about to start work on the small scale sculpture I've been invited to make for the anniversary exhibition at 20:21 in mid-May. I've gathered some otherwise unwanted materials (image) and my glue gun is poised and tin of varnish on standby.

Simultaneously, I am about to begin work on the new series of drawings for the 'Trust' exhibition in September at KLAC, although the new Windsor and Newton sketchbook I bought specifically seems too clean and white - it's intimidating. I always find this when I use 'proper' art materials.

Interrelate Venn

2011-04-25T08:53:00.000-07:00

Following on from the last post I managed to salvage a few items from the skip before it got carted away (since then they are popping up outside nearly every other house along our street)
Anyway, the items I tentatively rescued are now safely stored in the Green Room awaiting future interference. Meanwhile, over the weekend, I added some of the off-cut foam and piping to an existing assemblage (image). Upon reflection, the re-configured work reminds me of a 3-D Venn Diagram. Venn diagrams (devised c.1880 by British logician and philosopher John Venn, 1834-1923) are useful in representing all sorts of situations where two or more related areas interact or interrelate.
The 'middle section' is covered in a layer of fleshy pink wax and from this extends a taught bicycle inner tube bound tightly with food ties and the protruding valve is blocked with a blob of blu-tac. The 'arms' outstretch to precariously balance on two hooks screwed into the wall. The 'body' weighs the arms down (it fell on the floor several times). it all hangs together in a tense relationship of interconnecting parts and disparate materials.

Moral Dilemma

2011-04-18T09:20:00.000-07:00

Around the corner from where I live is a Skip overflowing with domestic junk. I've walked past it several times eyeing up its contents and it has much to offer!
The thing is I'm not sure how to get my hands on it.
Do I:
a) knock politely on the door, introduce myself and tell whoever answers what I plan to do with their rejected objects
or
b) start taking things out piece by piece under the cover of darkness

Whilst I mull over this moral dilemma, I'm working on some drawings and design ideas for a new large-scale community engaged sculptural installation taking place in September. More on this as it develops.

Hand in Hand

2011-04-11T01:32:00.000-07:00

After last weeks 'full-on' activities in the run up to the launch of Aid & Abet, I am trying to take a day off, but my inbox and mind won't allow it. I am back in the Green Room caught between responding to all kinds of admin things and wanting to start some drawings of new ideas for possible future work. I'm certainly eager to move into my new studio now and begin to 'physically' make work again on a larger scale. It's been great talking to all the small scale survival artists about process, materials and size (ambition?) of work. This is why setting up an art/social space is so important for me. The dialogue about the making alongside the exhibiting go hand in hand. Not just a passive viewing experience, but dialogue around the actual act of making 'live' in an expanded studio. A collective and shared experience. I am now turning my attention to writing my take on the collaborative experience of initiating Aid & Abet alongside artists, CJ and Sarah. It's for an article in a-n about collaborative relationships. The deadline is tight, but achievable, thanks to a bit of leeway from Chris. I'm also donating a framed work on paper to the Kettle's Yard FOUND Garage Sale in May.

Dumping Ground

2011-03-29T01:02:00.000-07:00

Next to Aid & Abet is a cycle hire shop and behind this a car park, which has become a bit of a dumping ground for various large objects and a range of materials over the years . Having cast my eye over what was available the previous week, last Saturday I pulled out some of these things and made some ad-hoc arrangements, the image above stood about 15ft tall. It contains the glass door of a vending machine lent against a metal frame with a sheet of floor lino slumped over them. On top of this are several precariously balanced bicycle baskets and a small tyre.

Balls

2011-03-21T13:20:00.000-07:00

Whilst at the Aid & Abet space on Sunday I couldn't help but notice a little gathering of semi deflated balls that had been left in the space. They were lying about doing nothing, so I decided to play around with them in different configurations, particularly in relation to a heavy chunk of cement that was propped up against a wall. There was something about the softness of the round sqaushy balls against the hard, heavy surface that seemed appealing - the opposites seemed to attract.

Different Hats

2011-03-18T08:13:00.000-07:00

I have been wearing many different hats recently. The concentrated space of a studio seems like a distant place for now. But that's okay. I've just returned from another site visit to check out the work happening at Aid & Abet in town. Work is progressing nicely for the launch on 9th April. The panels are going up and walls are being painted. However, there's still a hole in the roof that needs fixing. Both Will and Laura arrive tomorrow to start work, which feels more real and less abstract. I'm curious to see how each artist responds to the space and context. Clay has been ordered, a car is involved and a stack of pallets arrived this morning. The Aid & Abet site is also now up and running http://aidandabet.co.uk/

Turning to other news, I await to hear back about the commission, Market Project are finalising our first event at MK Gallery, with a few minor adjustments and I am back to Kettles Yard tomorrow for a workshop in the house: size, shape and scale.

Material Worlds Fundraiser

2011-03-10T12:05:00.000-08:00

All images from the Material Worlds Fundraiser event last night at Victoria House, London

Ambivalent Objects

2011-03-06T07:59:00.000-08:00

A selection of photos from a sculptural installation project with BA students at University of Hertfordshire last week.
A 2-Day workshop where each student was invited to gather some ambivalent objects and low-tech materials and bring them to an installation space in the college. Working collectively we created some impromptu assemblages and films 'Live' in the space. It took a while to get going and build up a rhythm, but eventually we created a great atmosphere with all kinds of activities happening in rapid succession! When something had been made it was documented and disassembled or re-configured into something different in a fluid process. Act of 'doing' rather than 'thinking' - not paralysis by analysis etc
On day 2 we decided to go on a walk around the college grounds to see what things we could interfere with in mischievous ways. CCTV cameras were ever present and we were quizzed a few times by men in suits, but as soon as an intervention occurred it was documented and taken down, safely without too much fuss.
The week ahead = studio time and a mid week rendezvous in London for the Material Worlds auction at Victoria House. If you haven't had a chance already, please download the catalogue here

A misty afternoon in Dungeness

2011-02-27T09:32:00.000-08:00

Back from a few days away staying on a 'working' farm in Kent, I'm sorting through the photos I took and a selection of mini films I made. There are plenty from a misty afternoon in Dungeness.

And wondering what to propose for a possible commission following a site visit on Wednesday. At the moment I'm thinking of transforming a 'nautical vessel' into a large-scale model with a reference to a variety of child's ride-on toys in a shopping centre. It will be made from (lots of) donated and cheap materials from the surrounding area and community, with on-site workshops taking place. It's early stages in it's development but the deadline looms, I've also been approached for another possible Lead Artist commission, so will need to turn my attention to that as well.

But not this week as I'm heading back to Bristol with Aspire early tomorrow followed by another session on Tuesday in Kings Lynn where we have a meeting with Mr Hemingway. Weds and Thurs are both taken out as well with a 2-Day Project at UH.

Out and About

2011-02-12T03:01:00.000-08:00

Returning to the Green Room after a week 'out and about', surrounded by collage pages and half made things, I'm putting together a little animation sequence for a book I've recently made

pages 27-28

Monday: saw a trip to Firstsite for an epic 'all dayer' with Market Project, formulating our first public event later this year.
Tuesday: A dash across London to catch up on some shows, including John Stezaker at Whitechapel, MOTHERS at Hauser and Wirth (see Writing section above) and the Mapplethorpe show at Alison Jacques curated by Scissor Sisters. Followed by the artist reception for Material Worlds in the evening. A sneak peak of the work can be seen here (+ PDF catalogue download)
Wednesday: Another Aspire Day - working in groups to make improvised transformations of personal objects. Our groups project involved balancing, bending, breaking and burning stuff in front of a hand held camera.
Thursday: meetings, meetings, meetings (my 'studio' seems to resemble a boardroom these days)
And yesterday: a train ride to Birmingham for the first group editorial meeting at Eastside Projects with Aid & Abet - (more about this here).

Furtive Images

2011-02-01T08:55:00.000-08:00

Flicking through a massive Claus Oldenburg book in Cambridge Central library and couldn't resist taking these:

The loneliness of the Single Object

2011-01-27T01:58:00.001-08:00

This week has been mainly set aside to focus on work for the Material Worlds commission - without too many other distractions. In fact I've only really ventured out to gather more objects from Emmaus and materials from Poundland. It's been slightly weird to re-engage with an intense 'one-to-one' making process again - a relationship with a single piece in the privacy of 4-walls. I've been projecting all kinds of things onto it. But being careful not to over do it and retain an element of lightness of touch + humour - not taking it too seriously. It's been a battle at times, an argument, mingled with more gentle conversations. At the moment it is standing upright - totem-pole like in the cold. I have a few more 'finishing touches' before it gets photographed. Compositionally, it is an assembled framework of eclectic odds and ends from charity shops, found materials and purchases from Poundland mostly covered in a layer of tightly bound tape, plastic and wool, covered in PVA and varnish. A working title is: 'Thing Me'. It will be available to see very soon on the CAS website and in the catalogue for the Annual Fundraiser event.
These are some of the drawings which have been pinned to the wall:

Mind mapping amongst the Bric a Brac

2011-01-20T05:58:00.000-08:00

As a kind of back up plan, because of the long wait to pick up keys and for the electrics to be made safe in the King's Lynn workshop, I have decided to make some new assemblages in my back garden studio (with a slight limitation on scale). During this week I have been making several trips to Sally Ann's on Mill Road - a fantastic charity shop, which just about caters for everything.
Whenever I enter the shop my mind gets carried away and automatically starts assembling things together - "what if I put that against that and then that on top of that and prop that against that and stuff that into that..............". Then it's decision time - what will I end up buying!? usually it happens instinctively; I may be attracted to a texture, colour, shape of something or more practically as if the items resemble a skeletal framework for others to be attached to, which may project a figurative narrative.
The combination of domestic items and leisure items always intrigues me and whether certain items are gender related.
Currently I have a fishing net soaking in a bucket of soapy water, a deflated football drying out in front of the fire (this was found on the roadside) and the base of a chair, minus back, on the workbench.

I like the idea of taking rejected or unloved items and injecting them with new life through seemingly simple, low-tech, re-arrangements and process of sublimation. Always trying to keep an openness as much as possible and the fine line of tragi-comic.
Tomorrow welcomes a trip to Emmaus in Landbeach

Erratic Musings

2011-01-17T12:50:00.000-08:00

Ahead of moving into a new temporary workshop, I have been erratically musing over what I might actually make when I get there. As much as I would like the assemblages to be realised in an intuitive and inventive process with whatever materials are to hand (and there are some fantastic eclectic & fetishistic things in the space already!) I cannot help but worry about the time-scale/deadline and how 'substantial' the piece needs to be - because it's a commission. More and more I seem to prefer to make things which are fractured and open to interpretation - collaged together in loose scenarios. Personal imagery + narrative, mixed with popular culture, mixed with an everyday vernacular - picking up on things from everyday life, found objects/imagery, overheard conversations, things out of the corner of my eye. Open structures to fling things at - and hope they stick. Making do and getting by.. I'm hoping that by placing one thing against another instinctively, then this should provide the 'solution'. Trusting my judgment as much as possible. My mind needs to slow down and let the arrangement of the materials do the talking.

Body-Parts and other things

2011-01-08T06:28:00.000-08:00

Following on from the last post I have been adding to and interfering with the documentation of the beach assemblages made on NYD using body-part images from the internet and manipulation on photoshop. This process has continued my interest in combining 'real' inanimate objects and 'found' imagery using a cut 'n' paste aesthetic in new and surprising ways:

In other news:
I am hoping to take temporary occupancy (approx 6 weeks) of a workshop in King's Lynn next week in relation to the Aspire project and Material World's commission. A few of us went to view the space yesterday, which is currently being used by the caretaker of a community housing estate. It was full of amazing objects and artifacts, which I am keen to exploit.
And finally, I'm off to the South West on Thursday next week for 3 days with Aid & Abet. We've been awarded a NAN research bursary to 'go and see' other like-minded artist run spaces. We will be stopping off to talk to the Spike Island Associates in Bristol and then onto G39 in Cardiff amongst other venues.

Beach Bricolage

2011-01-02T03:30:00.000-08:00

In what has become something of a ritual, New Years Day was spent with a bracing walk along Holkham Beach.........
During the walk I became aware of all the flotsam and jetsam that had been washed up in front of the dunes. I couldn't resist taking the opportunity to make a small gathering of improvised assemblages amongst the bleary eyed and somewhat baffled onlookers.

fireworks

2010-12-29T08:05:00.001-08:00

After several days of constant snacking, the annual 'Roses versus Quality Street' debate and other festive activities I have forced myself back into the Green Room today. I always find this period between Xmas and New Year slightly odd.
I reluctantly opened my inbox to be greeted with all kinds of 'things to do' and have jotted down up-coming dates in the new 2011 diary, including the imminent trip to the South West with Aid & Abet.
I think I may have also found a decent sized workshop to use temporarily to make the work for CAS.
Here's a little film of an indoor firework display on Christmas Day (don't get too excited!)

Oh, and if I don't add another post before 01/01/2011:

HAPPY NEW YEAR

Book on a Wall

2010-12-21T07:51:00.001-08:00

Book on a Wall from David Kefford on Vimeo.

Square Meal

2010-12-19T06:34:00.000-08:00

setting up the event

'Square Meal' was the first public event of the Aspire Year 2 project, which took place in Hillington Square in King's Lynn yesterday. It was a freezing cold day with some of the activities taking place outside, which included 'Gived'; a project conceived by Richard Layzell for the residents to choose a donated gift from a stall, have it wrapped and then take it away + a hot food stall, serving Free turkey and beef rolls with all the trimmings. Inside the community centre on the main square there were all kinds of free creative activities for everyone to take part in - badge making, biscuit decorating, marzipan fruit/animal making. It quickly became a space for people to chat and keep warm over cups of tea and mince pies! It was a fantastic day - Well done to all involved, particularly the apprentices.

David Kefford

Disturbance of Expectation

His and Hers

Materialist Ritual: Mike Kelley

Adhochism

The language of Materials

ipad sketch #1

Little tableau

Bakers Dozen

Sports equipment

Drinking Chocolate

Photos, Postcards and Ephemera

modern day material

Nexus

Dodgy Contraptions

precarious path

Ride a Cock Horse

middle class suburban

Challenging Nature

open studio

November Pavilions

CRAFT (starring Beales Babe)

One Minute Volumes

Fluid and contingent

Sausages

Cover Up

Crushed

proxy

stripped back

Wedge

Repetition Repetition

Wrestling

Dusty Dangle

List

Beales Babe

10p sandwiches

opening tomorrow: 15th September 2011

Jean's Boat

Exhausted

Notes on Drawing

Inside RIG and some PULP

grandaddy and a bit of panda bear

temporary meets permanent

Lifeworld

Chopper

Integrated ideas

Arendt: Not Knowing vs Not Thinking

end?

forever under construction

and other things.....

Cheeky Star

Two bikes and a dyson

unwanted objects

Art remains art

front and back

Sand souvenir

Put or Take

Working out

Stage

Running Amok

Dark Wit

ReCollection

ReCollection

Artists exhibiting in ReCollection

Long after Tonight and into Tomorrow

Fair in the Square

Uma

Transitional Objects

Harmonic Whole

primal urgency

under one roof

Weighed Down

10 x 10

'Dumb' Drawings

Show me the Money

Volvo

21 May to 27 August 201110 x 10

MK Gallery – Show Me The Money

automatic hair

FOUND

21 May to 27 August 2011
10 x 10