Antonia Marsh visits artist Kingsley Ifill as he prepares to launch a show that reappropriates mass production printing techniques
In the year, or so I’ve known Kingsley Ifill, he’s had two completely different studios. The first I experienced, was a hybrid gallery-come-pool-hall where he hung his paintings around a snooker table in a little space in east London, with just enough room to squeeze in a comfy leather couch and a coffee table littered with his zines and home-made books. In his own words, all that happened was he drank beers and played pool and hardly got any work done at all. This time round, his productivity level has violently swung in the opposite direction, he’s now occupying a disused British Legion pub on the waterfront in Herne Bay where he grew up. This massive space is filled with books and printers and screens and paintings: he’s even knocked up a makeshift darkroom in one of the old loos.