Derek Horton is an artist, writer and curator who recently worked with Mark Devereux Projects to select the artists in Looking at the Reflection of Reality, the second annual associates exhibition. He tells us more about the selection process.

Along with Kitty Anderson, Mark Devereux and Stuart Tulloch I was delighted to have the opportunity to select the artists in Looking at the Reflection of Reality. The things that interest me the most (in the world in general and art in particular) have always been things that evade categories, that resist easy classification, that undermine expectations. Really good artworks almost always do all of those things. The measure of quality, for me, is always to do with an artist’s capacity to work inventively across, through and beyond the conventions of a discipline or the limitations of a medium.

Good art also generates ideas, provokes reflection or speculation, and invites dialogue. It is no coincidence that the work we eventually selected for Looking at the Reflection of Reality, from a large number of submissions, is the work that prompted the most discussion amongst the panel of selectors. The outcome is a diverse exhibition of works united by their capacity for inventiveness and freedom from formal limitation.

Mary Wintour – The eagerness of objects

Mary Wintour fuses painting with collaged photographs in works that create ambiguous shifts within interior spaces that have an artifice reminiscent of a film or stage set. Using very different methods, Laura Napier also works with architectural spaces, using photography, installation and performance to create imagined realities and fictional histories.

Laura Napier – Heintzman Solicitors (Interior-Window)

Aylwin Greenwood-Lambert interrogates the relationship of material objects and graphic symbols, overlaying the randomness of internet searches with the specificity of language and testing the space between the printed image and the video screen. Evi Grigoropoulou’s exploration of the tradition of trompe-l’oeil also exploits the intersecting possibilities of replication and representation.

Rob Davies uses painting to subvert genre, mapping out a territory in which the Romantic landscape, Western movie clichés and gestural expressionism collide. Working with pop culture sources in a very different way, Marco Giordano collects amateur drawings, ‘fan art’, that, veiled, dissolved, obscured, are transformed into delicate and subtly (re)aestheticized surfaces.

Joe Hancock has worked with a scripted text to create an audio installation in the context of a sculptural intervention in the architectural space of the exhibition, emphasizing its physical location and dimensions but in so doing also potentially narrowing the gap between the viewer and the work, both his and that of the other six artists in the show.

Looking at the Reflection of Reality runs in Manchester’s Federation House until 13 December. Read more about it on Central Station in this featured event.

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During his six-years as Founder, Director & Head of Exhibitions for Blank Media Collective (Manchester), Devereux worked with and talked to hundreds of artists. One of the common and most significant issues was the lack of dedicated, one-to-one support available to give the artists the bespoke and channeled information needed to help further their practice.

Research shows that many positive and informative schemes varying from open workshops to discussion groups exist; however, there are few organisations that are able to offer a focused one-to-one service for early-career artists.

Through the experience and contacts Devereux has acquired, MDP is able to start looking at ways in which the organisation can fill-in some of these gaps. Working alongside other industry professionals, MDP is launching in the North-West of England with two entry-points for early-career artists, audiences and collaborators.

“His [Devereux’s] idea of starting our working relationship with 100 questions around every aspect of my practice was inspired. Since that, I’ve had an interview and studio visit with a fantastic curator from Yorkshire Sculpture Park. A visit from another arts professional and a further session with Mark are already penciled in. I feel really lucky that’s he’s taking such a nurturing approach.” [Nicola Dale]

Sequel, Nicola Dale, 2012

MDP will be working with Nicola Dale, David Ogle and Nicola Ellis as a long-term ‘collaboration’ to support the growth of their practices. With support ranging from critique of new works and ideas to support with promotion and business skills, varying aims and targets have been set to help each artist increase their profile and achieve their personal ambitions.

The work between MDP and the inaugural artists will be an ongoing process and conversation, rather than short-term fixes of information or exposure. Reflection, consideration and time for thinking are all integral factors into making the process and activities comfortable and successful for the artists.

“As opportunities for artists often seem to follow on from one another (new commissions arising from previous shows) it can feel as though any kind of career development lacks a level of direction or concerted focus on specific goals. Working with MDP has allowed me to consider in detail the types of opportunities that I am most interested in undertaking and how this can contribute to long-term aspirations” [David Ogle]

08005, David Ogle, 2011

The second strand of the organisation is the new MDP Associate Membership Scheme and one-to-one mentoring sessions. Early-career artists from the North-West of England can join the scheme to benefit from bespoke one-to-one mentoring and guidance sessions. They will gain exposure through annual group exhibitions selected by Mark Devereux together with two other curators, producers or industry professionals. They will also have access to group information sessions and events as well as access to a range of online advisory materials.

The Associate Membership is a great opportunity for early-career artists to not only increase their exposure and awareness but also get invaluable advice, guidance and support helping them get to where they want to be in the future. It also gives each of the Associate Members the opportunity to be considered by MDP to compliment the existing artists mentioned above.

To compliment the Associate Membership or for early-career artists from outside of the North-West of England, additional bespoke one-to-one mentoring and guidance sessions can be booked with MDP to discuss support, advice and information needed to help further individuals careers.

Lassus, Nicola Ellis, 2011

“There will be a lot of new experiences for me while working with MDP. I look forward to engaging with the public in different ways and focusing on specific areas of my practice that will help develop and compliment the work I produce.” [Nicola Ellis]

MDP is currently working towards the first exhibition; Means of Feedback, which will take place in Manchester from 11-17 July, showcasing the work of Nicola Dale, David Ogle and Nicola Ellis. Complimenting the exhibition will be specially commissioned videos about each of the artists and the work of MDP. A publication including the writing of Kerry Harker (Co-Founder & Director Project Space Leeds) and Helen Pheby (Curator Yorkshire Sculpture Park) will be launched to accompany the exhibition.

For further information about Mark Devereux Projects please visit the brand-new website, Twitter or Facebook. To join MDP Associate Membership scheme or find out more about one-to-one mentoring sessions for any early-career artist visit the Membership & Mentoring page or email info@markdevereuxprojects.com.

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Read more about Mark Devereux on Central Station here.

1. As a sixteen year-old avid Lincoln City football club fan, I had to find a way to fund this highly addictive and expensive hobby. Up popped a famous Yorkshire supermarket and my employment began. Not the most mind-expanding job but definitely one that taught me a great deal. As I progressed through the hierarchy of stacking orange juice to checking out of date chicken, after a while I was asked to manage the department I was working in for one evening a week. This was my first experience of managing people and I was in at the deep end, when half of them were double my age.

2. After this slightly inconspicuous start, my next foray into employment (after taking a good few years living the life as a student) was through the photography store, Jessops. Joining the dots, there was a relationship to what I wanted to do in the future. I started meeting photographers and creative people, talking to them and asking questions about what they did and telling them about what I was doing. I created some great contacts and of course friends, many of whom I am still in touch with.

3. What may have been seen as a step down in the employment ladder, but what was in fact one of the most important jobs I had was as a cleaner at Staffordshire University. At that time, I found a loophole in the system meaning that if you worked for the University they would pay your post-grad tuition fees. In the third year of my undergraduate course, I finally found my niche and area of practice. It felt a rush to bring everything together in time for the degree show so I wanted to expand this new development in my practice and widen my focus into a fine art field. Working as a cleaner not only paid my tuition fees but also paid me a wage to create new work.

4. After a year of working as a cleaner I was fortunate to be offered the role as a Photography Technician / Instructor at the University covering maternity leave. This gave me the opportunity and insight into the other side of University life and has later led me back to the University this year to teach on the course as a visiting tutor. As well as setting up the studios, darkrooms and maintaining the equipment, I also instructed group and one-one workshops with the students, teaching practical techniques.

5. When I moved to Manchester from Stoke-on-Trent, I started working for Manchester Art Gallery on short-term temporary contracts. This was and has been one of the most beneficial jobs to my progression as a curator and director of an arts organisation and gallery. I was able to both see the inner workings of a large gallery/museum, as well as meet and receive advice and ideas from some of the curators and staff. This was an invaluable support network and helped Blank Media Collective gain a stronger footing within the arts and local community.

You can find out more about Mark’s work on his website. His final exhibition as Blank Media Collective’s Director and Head of Exhibitions, Liz West: Chroma opens on 5 July at BLANKSPACE Gallery, Manchester. Follow Mark on Twitter here.

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We’ve asked professionals in creative industries what jobs they have had in the past to get their foot through the door (or at least pay the rent). For more in the “My First 5 Jobs” series look here.