David Kefford

Research activity per year

Personal profile


David Kefford's work has been extensively exhibited and commissioned in the UK and internationally in both Solo and Group exhibitions alongside inclusion in Biennials, Festivals and Public Art contexts.

Kefford has been awarded numerous Grants and Awards, including a recent Develop Your Creative Practice Grant from Arts Council England, a Henry Moore Foundation Artist Award, an Escalator Visual Arts Award and the Roy Noakes Bursary Prize at the Royal British Society of Sculptors. His work is held in a number of Public and Private collections.

He is currently Senior Lecturer on the BA Fine Art programme at University of Hertfordshire and is a Member of the Royal Society of Sculptors (MRSS).

He is also co-founder and director of artist led project Aid & Abet

Research interests

David Kefford’s trans-disciplinary practice is research driven and builds relationships between marginal communities and situated sites often on the precipice of change or undergoing transformation. 

Working with synthetic materials and (non)bio-degradable stuff he explores his immediate local ecology by transforming abandoned objects and materials into something other - unknown entities – unanchored from their original environment, beyond human, mutant-like and mutable. His characterful sculptures engender a form of empathy with the non-human, suggesting all things have ‘souls and agency’ and seem to speculate that if the world is transforming into an inhospitable rubbish dump, then evolving life-forms will need to adapt by mimicking waste and bodily incorporating detritus. A cyclical form of activism, which he describes as ”creative composting”.

For Kefford there exists a Queer Ecology to these agglomerations, a form of world-building seen through the lens of the ruptured and fragmented, seemingly disposed of and forgotten things - the afterlife of stuff in the all-consuming Anthropocene, that embrace the uncertainty of a changing world.

What happens to the sculptures he crrently makes is now reaching a critical point in terms of how they are made and more importantly how the materials used to make them are wasted. This has led him to question: What is the lifespan of these sculptures?

Should they be allowed to decay and deteriorate steadily or should they be preserved/archived?

Can sculptures be replenished or ‘re-materialised’ utilising more sustainable, eco-friendly materials and methods? or be ‘de-materialised’, reducing the material energy required to make them by having an after-life in some other form?

Education/Academic qualification

Fine Art, MA, The University of Brighton

Award Date: 30 Jun 1999


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