My Pebble Nest

A Shroud Has No Pockets Cocoon

Life Cycle Cores

Please click an image to see a larger version

image 1 image 2

image 3 image 4

image 5 image 6

Please click an image to see a larger version

image 1 image 2

image 3 image 4

image 5 image 6

Please click an image to see a larger version

image 5 image 6

image 1 image 2

image 3 image 4

Please click an image to see a larger version

image 1 image 2

image 5 image 1

Please click an image to see a larger version

image 1 image 2

image 5 image 1

Please click an image to see a larger version

image 1 image 2

Please click an image to see a larger version

image 2 image 2 image 2 image 1

The evening of the private view a mime was performed by Nyakor Riam wearing 'Just in Case' whilst interacting with the following other exhibits.

Please click an image to see a larger version

image 1 image 2

Skin deep, two revolving cubes containing images of the artist in cosmetic masks. The left cube reflects on our celebrity culture and social masks - designed to hide reality and inner feelings. Masks that easily fail when the eyes and mouth reveal the truth. The right cube reflects on mortality through the medium of ‘The Selfie’ - stances adopted that only stave off the inevitable.

Please click an image to see a larger version

image 1 image 1 image 1

Never one of us, a discarded antique oak table is placed on a much-loved handcrafted Moroccan kilim rug with a vast mirror suspended above. Opening a debate on the power of Tribalism and its polarising effects, the ‘Them versus Us’ psychology is explored and the piece becomes a mirror on the self. With immigration and displacement at the forefront of current political debate, the question of integration versus individuality is core. This work examines the psychology of in-group favouritism and out-group derogation, and how we morph to seek acceptance and to be considered of value.

Please click an image to see a larger version

image 2

When ceilings come down, a sumptuous site- specific interactive installation composed of 316 exquisitely hand-carved Balinese ceiling bosses. The viewer is given the opportunity to enjoy a red carpet experience and the chance to examine the type of grandiose ceilings usually out of reach to the public. This installation is a celebration of craftsmanship over decaying majesty and reflects on the current distrust of the Establishment.

Please click an image to see a larger version

image 1

Cradled or Contained? A giant translucent polycarbonate cube, partially filled with an organic-looking substance, is suspended in a cradle of rusty railings. This sculpture explores the precarious balance between protection and confinement, nurture and neglect, freedom and security.

image 2

Excavated remains of a life span, circa 3019. Self-portrait.

That familiar feeling, sculpted, carved, turned, and assembled from solid ash. A visceral response to adversity, authority, confrontation and injustice.

image 1

Just in case, questions the drive behind inadvertent collecting. A robe covered in a mass of buttons, kept but never used forms a protective shield against the outside world. What part does the possession and control of ‘Stuff’ play in giving us lifetime security when ultimately we have to dispense with it all?

image 1

The bruises are beginning to fade, partially sanded recycled parquet floor panels with mirrored inserts. The viewer is invited to stand and reflect on the memories and marks left and held within the material constructs of institutional buildings and architecture. From floor to wall these panels manifest the oppressive and claustrophobic feelings of power and authority, whilst the reflective mercurial surfaces offer avenues of escape.

image 2

No man’s land, an assemblage of 10 vintage factory spools and 11 vintage irons. A simple hommage to the ‘fairer sex’.

image 2



Davina Kemble MFA

Matter contains the authenticity of our existence – that of experience and history. These anthropological connections inspire and inform my work, the focus of which lies in the relationship between material substance and form. I explore how we integrate everyday objects - taking the essence of them into our subconscious - and how we respond to them when they are taken out of their usual function and environment and juxtapose them with others, thereby creating dualities between inner and outer experience.

Over a 25 year period I studied and developed my artistic skills working exclusively with character woods as a chosen medium - incorporating architectural and sculptural forms. I then went on to study wire and paper modelling and print-making.


In 2013 I received a First Class Honours Degree in Applied Art and Design from Bath Spa University and won the Business Plan Merit Award for the ‘Pebblewood’ Coffin.

In 2014 I was awarded a Masters in Fine Art by Bath Spa University.

From 2016 to present day I have developed and run Pebblewoodurns alongside my studio practice that has moved to Northdown Studios – Cliftonville - Margate.

In 2018 I joined LovefromtheArtist.com as a contributor.

Contact Details
T: 01249 813007
E: [email protected]
E: [email protected]
https://www.etsy.com/uk/shop/PebblewoodUrns
https://www.lovefromtheartist.com/Artists/margate/davina-kemble
Davina Kemble

ON THE FACE OF IT - Artist biography

From 1977 to 1980 Davina studied Mime at the City Lit, London. During her training, she became intrigued by the Commedia Del’Arts mask characters that in-turn led her to study at the Jacques Lacoq School, Paris. Here she took the course “Du Clown au Bouffon”, one of the inspirations for this show.
Further studies at Chippenham Technical College during the 1990s led to a successful career as a bespoke furniture maker.
In 2013, Davina obtained a 1st Class Honours Degree in Applied Arts and Design from Bath Spa University. During this period, she also studied wire and paper modelling under Peter Rush, working on the nativity scene in Salisbury cathedral and the Praying Mantis of the 2000 Paralympics Opening Ceremony.
During 2014, Davina received a Masters Degree in Fine Art from Bath Spa University.

Spanning over 40 years, this cornucopia of creative experience, as both a craftsman and as a fine artist, has informed Davina’s work.