StudioBook 2017 | Image: Mark Devereux
  • StudioBook

2017 Course Info

StudioBook 2017 was an intensive, tailored artist development programme from Mark Devereux Projects designed for twelve practitioners. Responding to the requirement for continued professional development throughout an artist’s career, with specific focus on those that are teetering between early and mid career, StudioBook provided an important injection of information, knowledge and inspiration for artists at an integral point within their practice. At the core of the eight month programme was StudioBook fortnight: two weeks of concentrated seminars, workshops and one-to-one mentoring sessions, led by established artists, curators and arts professionals.


Start Date:

End Date:

Old Granada Studios

Quay St
Manchester, M3 3GS
Course programme

Week 1 | Day 1: Monday 17 July

09:00 – 10:00: Artists arrive at Old Granda Studios. Morning refreshments.

10:00 – 10:30: Introduction and welcome to StudioBook
Mark Devereux Projects

An introduction to the StudioBook programme, Old Granada Studios and Mark Devereux Projects, along with brief introductions by each artist.

10:30 – 13:00: Participating artists’ presentations on practice with critique
Kate Jesson | Curator, Manchester Art Gallery

Each artist will give a short presentation about their recent practice to the speakers and their peers, followed by questions from attendees.

14:00 – 15:30: Talking about your work
Kate Jesson | Curator, Manchester Art Gallery

In this session artists will consider the varying presentation styles required for formal talks, in-conversation events and one-to-one conversations. By recognising the various approaches, and being encouraged to let your personality shine through, you will be given the skills and awareness of how to articulate your practice in the most relevant way.

16:00 – 17:30: One-to-one advice surgeries
Kate Jesson + Lesley Taker + Kerry Harker

Each artist will have a one-to-one session with a speaker focused on their questions surrounding talking about their practice. Sessions will be booked in advance.

Day 2: Tuesday 18 July

09:30 – 11:00: The right opportunity?
Kitty Anderson | Curator, The Common Guild

How do artists identify and then follow up the right opportunities that will enact a step change in their practice? This session will discuss the practicalities of exhibiting with a long term focus on securing exhibitions at larger institutions.

11:30 – 13:00: Identifying your target audience, making connections and securing opportunities
Kitty Anderson | Curator, The Common Guild
This session will focus on thinking about your target audiences and how you can get your work seen by the right people. You will be encouraged to think about who your audiences are, how they engage with your work and which are the right galleries, curators and networks to help support your practice.

14:00 – 15:30: One-to-one advice surgeries
Kitty Anderson + Eleanor Clayton + David Ogle

Each artist will have a one-to-one portfolio critique with one speaker. Sessions will be booked in advance.

16:00 – 17:30: Displaying your work and the making the most of your opportunity
Eleanor Clayton | Curator, The Hepworth

Whether selecting the right work for a group exhibition or producing a sculpture to show in a larger institution, awareness and sensitivity are important attributes required for displaying artwork. This practical session will consider what artists need to be aware of when approaching different contexts of exhibiting work.

Day 3: Wednesday 19 July

09:30 – 11:00: Writing proposals and applications
Ann Bukantas, Head of Fine Art, National Museums Liverpool 

Good exhibition proposals are a key part of securing exhibitions. This session will provide a curatorial perspective on how to craft engaging proposals that clearly articulate your ideas with the goal of securing exhibitions.

11:30 – 13:00: One-to-one advice surgeries
Ann Bukantas + Laura Robertson + Jack Welsh 

Each artist will have a one-to-one session with one speaker focused on their questions surrounding making applications and writing about their practice. Sessions will be booked in advance.

14:00 – 15:30: Writing about your work
Laura Robertson | Freelance art critic and co-founder/editor of The Double Negative

This practical session will provide an introduction to how different artists approach writing about their work for different audiences, and how important it is to clearly communicate and contextualise your work in your own voice.

16:00 – 17:30: Writing workshop
Laura Robertson | Freelance art critic and co-founder/editor of The Double Negative

A follow up session will break down the artist statement and how to craft new approaches to outlining the concepts, contexts and materials in your individual practice.

Day 4: Thursday 20 July

09:30 – 13:00: Morning off for research and/or rest

14:00 – 16:00: Keynote speaker masterclass
Mariele Neudecker

A masterclass from our keynote speaker.

16.30 – 18:00: Evening meal

19:00 – 20:30: Keynote speaker public talk at Manchester Art Gallery
Mariele Neudecker

A public talk from our keynote speaker.

Day 5: Friday 21 July

09:30 – 11:00: What is public engagement and socially engaged practice?
Bo Olawoye | Independent Engagement Curator & Consultant

What does public engagement actually look like now and how are artists embedding this within their practice? This session will provide examples of innovative and meaningful artist-led projects that are thought provoking and reflect the times.

11:30 – 13:00: One-to-one advice surgeries
Bo Olawoye + Bren O’Callaghan + Sophie Lee

Each artist will have a one-to-one session with one speaker focused on their questions surrounding public engagement and socially engaged practice. Sessions will be booked in advance.

14:00 – 17:30: Documenting your work
Carl Davies and Jules Lister | Photography & videography

This session will provide participants with the chance to choose a masterclass in either photography or filmmaking. A full brief will be provided ahead of the session.

Saturday 22 & Sunday 23 July

Optional activities including exhibition and studio visits. Participants are welcome to opt out if they wish.

Week 2 | Day 6: Monday 24 July

09:30 – 11:00: What does it mean to be represented?
Nathaniel Pitt | Director, Division of Labour & PITT projects

The session aims to clarify what representation is, how it can support artists and why it is not right for every artist.

11:30 – 13:00: Pricing and selling work
Nathaniel Pitt | Director, Division of Labour & PITT projects

This session will go through practical techniques to create a pricing structure for your work. You will be encouraged to think about how to incorporate commission, overheads and your time into the final price of the work.

14:00 – 15:30: Managing your finances and budgeting
Alex Hodby | independent consultant and advisor

Confidently managing your finances is an important part of supporting any creative practice. This introductory session will cover issues from your legal and tax obligations, to what your invoice needs to include and how to manage your freelance career.

16:00 – 17:30: One-to-one advice surgeries
Alex Hodby + George Whalley + Jack Welsh

Each artist will have a one-to-one session with one speaker focused on their questions surrounding finances and budgets. Sessions will be booked in advance.

Day 7: Tuesday 25 July

09:30 – 11:00: Introducing the StudioBook commission
Lindsay Taylor | Art Curator, University of Salford

Participants will be introduced to the brief and context of the special £2,000 StudioBook commission and acquisition with the University of Salford Art Collection, in which the selected work will be placed within the university’s permanent collection.

11:30 – 13:00: One-to-one advice surgeries
Lindsay Taylor | Mark Devereux | Jack Welsh

Each artist will have a one-to-one session with one speaker focused on their questions surrounding the StudioBook commission. Sessions will be booked in advance.

14:00 – 15:30: Public / private commissions and collections / collectors
Emma Price | Co-Director, Studio Response
Katie Popperwell | Freelance arts & culture consultant and producer

This session will discuss the varying models for commissioning artists, what commissioners look for and how to apply for future commissions. Considering both the public and private sectors, advice and information will be given on how to manage relationships with commissioners, what they expect, how to manage expectations and how you retain your artistic integrity.

16:00 – 17:30: Managing a commission
Emma Price | Co-Director, Studio Response
Katie Popperwell | Freelance arts & culture consultant and producer

Once you’ve secured a commission, often the hard work really starts. This session will provide a practical insight on the logistics required when managing a commission, from project briefs to complying with relevant health and safety requirements.

Day 8: Wednesday 26 July

09:30 – 11:00: Introduction to funding and fundraising for artists
Frances Lord | Arts consultant, mentor & producer

This session will provide an introduction to fundraising, covering potential funders and what to consider when researching new funding avenues for your project.

11:30 – 13:00: Making a funding application
Frances Lord | Arts consultant, mentor & producer

A deeper insight into the practicalities of writing a funding bid focusing on what funders will look for in your application.

14:00 – 15:30: One-to-one advice surgeries
Frances Lord + Mark Devereux + Jack Welsh

Each artist will have a one-to-one session with one speaker focused on their questions surrounding funding and fundraising. Sessions will be booked in advance.

16:00 – 17:30: Negotiating better – how to improve terms and conditions for artists
Susan Jones | Richard Padwick and Susan Jones

A seminar for professional visual and applied artists seeking to practice professionally in a complex and competitive environment for contemporary visual arts. Designed to improve artists’ understanding and application of negotiation processes, the session covers how to sift through the range of opportunities on offer and tackle thorny issues including no and low budgets, unrealistic commission briefs and expectations and over optimistic time-scales, whilst pursuing an personal development plan.

Day 9: Thursday 27 July

09:30 – 11:00: PR, publicity and marketing as an independent artist
Catharine Braithwaite | Arts marketing and communications consultant

Once you’ve secured an exhibition, what are the best ways to develop an audience for your work and make sure it is promoted effectively? This session will share practical tips on how to communicate the stories behind your work and produce interesting digital content, images and information that will engage a diverse audience.

11:30 – 13:00: Writing a press release
Catharine Braithwaite | Arts marketing and communications consultant

A well crafted press release can cut through the dross and grab the attention of arts media professionals. This session looks at how you can master writing a press release that articulates your key messages.

14:00 – 15:30: One-to-one advice surgeries
Catharine Braithwaite + Joanne Karcheva + Mark Devereux Projects 
Each artist will have a one-to-one session with one speaker focused on their questions surrounding promotion, marketing and social media. Sessions will be booked in advance.

16:00 – 17:30: Social media masterclass
Mark Devereux Projects

What social media platforms do you currently use to promote your practice and why? This hands-on session will critically analyse how social media can support and enhance your practice and brand.

Day 10: Friday 28 July

09:30 – 15:30: Strategic planning
Mark Devereux Projects

To close StudioBook fortnight, Mark Devereux Projects will facilitate a practical session leading the participating artists through a series of questions, exercises and tasks which aim to gradually bring forth your practice and career ambitions through 1, 3 and 5 year strategic plans.

Mark Devereux Projects is delighted to confirm the following speakers for the StudioBook 2017 programme.

Kitty Anderson
Curator, The Common Guild

Kitty Anderson is Curator of The Common Guild, Glasgow. She was previously Associate Director of The Modern Institute, Glasgow, and Associate Curator of Frieze Projects, London. Kitty has an MA in Curating Contemporary Art from the Royal College of Art, London, and she is currently a Mentor on the MLitt Curatorial Practice (Contemporary Art) at The Glasgow School of Art. Kitty is on the board of Stills, Edinburgh, and part of the advisory panel for Berwick Visual Arts. She has contributed to a number of international publications and events and is a regular visiting lecturer on the MFA and MLitt programmes at The Glasgow School of Art.

Catharine Braithwaite

Catharine Braithwaite 
Arts marketing and communications consultant

Catharine Braithwaite is a cultural communicator, working across the UK, mainly in the visual arts and museums sector. She has worked with institutions such as Tate, The Southbank Centre, Arts Council Collection, The Whitworth Gallery and The Hepworth Wakefield as well as major events such as Liverpool Biennial, Manchester International Festival and Liverpoolʼs year as European Capital of Culture. She has been Associate Lecturer in marketing at The School of Museums Studies, University of Leicester since 2002 where she teaches on the MA. She is on the committee for the national Cultural Comms conference which takes place annually in London. She is a Trustee of HOME Manchester.

Eleanor Clayton
Curator, The Hepworth

Eleanor Clayton is Curator at The Hepworth Wakefield. She previously worked as Assistant Curator: Exhibitions and Displays at Tate Liverpool, and Assistant Curator: Public Programmes at Tate Britain, following research posts with the National Trust and the National Portrait Gallery. As a freelance writer on contemporary art, Clayton’s reviews have appeared in Frieze, Art Monthly and The Burlington. She is the editor and contributor of the forthcoming book, Howard Hodgkin: Painting India (Lund Humphries, 2017).

Mariele Neudecker

In her work, Mariele Neudecker (b.1965 Germany, lives / works in Bristol, UK) explores the overlaps between two and three dimensional, and analogue and digital, using a broad range of media including sculpture, film, photography and sound. Her practice investigates perceptions of the natural world and the sublime, often employing technology to reproduce a heightened experience of landscape in her work.

In her work, Neudecker often uses technology’s virtual capabilities in order to reproduce a heightened experience of landscape, thus addressing the subjective and mediated condition of any first hand encounter. She has worked with scientists and engineers and their methods and research. For her, technology both enables and limits our perception and experience of the worlds we inhabit.

Solo exhibitions include Ikon Gallery, Birmingham; Tate St Ives and Tate Britain, Kunstmuseum Trondheim, Norway, Zeppelin Museum, Germany and she has shown widely in international group exhibitions; Neudecker is currently finishing a public art commission at Guy’s Hospital, London. Other upcoming projects for 2017 are OCEAN IMAGINARIES at RMIT, Melbourne, Australia, “Air – Visualizing the Invisible in British Art 1768 – 2017”, RWA, Bristol and “Weather-Report, of Weather Culture and Climate Science”, Bundeskunsthalle, Bonn, Germany and a solo exhibition at the Pharos Arts Foundation, Cyprus, Greece.

Neudecker is Professor and Research Fellow at Bath Spa University, Fellow for CERN’s Visiting Artists Program and is on the EC’s JRC SciArt panel. She is represented by Galerie Barbara Thumm, Berlin, and also works with Thomas Rehbein Galerie, Cologne.

Carl Davies
Cinematographer and video maker

Carl Davies is a North West-based cinematographer and video maker. He holds a BA in Media Production and works at the crossroads between video, artists and art/cultural organisations. As a cinematographer, he has realized a number of film and video art projects, ranging from narrative to documentary to experimental. Carl has worked with Liverpool Biennial, FACT (Foundation for Art and Creative Technology), Manchester Camerarta Orchestra, Everyman Theatre, Opera North, Sony Computer Entertainment and many others.

Alex Hodby
Independent consultant and advisor

Alex Hodby has worked with art and artists throughout her career. She has worked as a curator for over 15 years, including at Yorkshire Sculpture Park, as an arts administrator in Manchester and as a studio director in Newcastle upon Tyne. She currently teaches about curating on a course delivered at Tate Modern, in collaboration with Kings College, London. She is working on an AHRC CDA PhD project with Tate Modern and Goldsmiths Department of Politics about New Institutionalism, Public Programming and democracy. Alex is also a trustee of Quarantine, a theatre company based in Manchester.

Susan Jones
Arts consultancy and research | Richard Padwick and Susan Jones

Susan Jones is a visual arts consultant and researcher with specialist knowledge of artists’ livelihoods and professional development strategies and the value of the artist-led within the arts ecology who is currently undertaking a PhD at Manchester School of Art addressing the interrelationship between arts policy and artists’ livelihood practices. She is a mentor and adviser to artists and artist-led organisations and contributor to artists’ development programmes and conferences. Recent published writing includes Residencies: Practices and Paradoxes (TransArtists), Are the Creative Industries good for artists? and Enforcement or equanimity: sustaining fair pay for artists.

Kate Jesson
Curator, Manchester Art Gallery

Kate Jesson is Curator at Manchester Art Gallery. Kate has curated numerous major exhibitions including Ryan Gander ‘Review / re-view’ (2014), and Pat Flynn, ‘Half-Life of a Miracle’ (2015). She recently co-curated ‘Strange and Familiar: Britain as Revealed by International Photographers’ with Martin Parr. Kate is a board member of Castlefield Gallery.

Jules Lister
Photographer and videographer

Jules Lister gained an MA in Contemporary Fine Art Practice from Leeds Metropolitan University in 2002. His interest in DSLR cameras and photography grew through his role as Media Producer at Axisweb – a visual arts charity based in Wakefield. Jules started documenting exhibitions and art events on a freelance-basis in 2014 and quickly built up a large client-base including established art institutions such as Site Gallery in Sheffield, The Tetley in Leeds and The Hepworth in Wakefield, as well as smaller artist-led spaces such as Two Queens in Leicester and Bloc Projects in Sheffield. He also works with artists on a one-to-one basis, documenting their work in their studios; previous clients include Yelena Popova and Ernest Edmonds. Jules has recently expanded his photography expertise into portraiture, product and lifestyle shoots.

Frances Lord
Arts consultant, mentor and producer

Frances Lord is a freelancer based in Sussex who works with artists and arts partners initiating, developing and managing cross discipline collaborative projects. She is a visual arts and crafts specialist who has worked with architects, developers, environmental agencies, local government and other partners commissioning artists for public realm and site-specific projects. Frances mentors artists working in all disciplines and is particularly interested in helping artists with an applied arts background to develop their work in new directions.

Bren O’Callaghan
Visual Art Programme Manager, HOME

Bren O’Callaghan is Visual Art Programme Manager at HOME and has an independent practice as a producer, curator and artist. His own work explores collaboration, creative compulsion and the championing of ‘outsider’ enthusiasm. Projects range from the popular Sketch-O-Matic almost instant portrait booth, Scratch ’n Sniff Cinema series, BFI binaural broadcast Carnival of Souls and UK Producer for Peaches Christ Productions’ immersive cinema presentations. Bren has produced artist films for Jamie Shovlin, AL and AL, James Richards, Rachel Maclean and La John Joseph. He has most recently curated AL and AL’s Incidents of Travel in the Universe, Cockadoodle: The Erogenous Art of Maurice Vellekoop, and Rachel Maclean: Wot u 🙂 about? (selected to represent Scotland at the 57th Venice Biennale), and as curatorial adviser for the group exhibition La Movida, curated by Sarah Perks.  He is currently developing an exhibition presentation with Canadian film director and artist Bruce LaBruce, and over 2017-18 will be curating and producing all new work with London-based artist John Walter for the touring exhibition Capsid, commissioned by The Wellcome Trust.

David Ogle
Artist, represented by Mark Devereux Projects

David Ogle (b.1987) graduated from Lancaster University with a 1st class BA in Fine Art History and Practice in 2009, and an MA with a Distinction in Contemporary Arts Research in 2012. He is currently undertaking an AHRC funded doctoral research project at The University of Liverpool in collaboration with FACT (Foundation for Art and Creative Technology) maintaining his studio practice alongside academic work.

David Ogle’s work has been exhibited extensively in the UK and Europe, with notable solo exhibitions and commissions including: ‘Lumen’ (York St. John University, York, UK – Illuminating York), ‘In Another Light’ (Croft Castle, Herefordshire, UK – The National Trust) and ‘Subterranean: Sculpture Shock’ (The Vaults, London – The Royal British Society of Sculptors).

Bo Olawoye
Independent Engagement Curator & Consultant

Bo Olawoye has worked as a Engagement Curator and Consultant for contemporary visual arts venues for over 15 years in Nottingham and the UK.  Her approach to engagement always has a strong focus on “creative collaboration” empowering people through art to explore social and political issues that affect their daily lives.

Bo has worked for The Bonington Gallery at Nottingham Trent University, Nottingham Contemporary, Tate Modern London, Backlit Gallery/Artists Studio and New Art Exchange.

Bo also works as freelancer, given talks and chaired discussions nationally about her approach and practice. Recent independent projects include “Pathways” – Nottingham’s first black history mural and co-curated, “Moving Diversity Forward” (Threshold Studios)- a series of public talks in unexpected places, exploring the chronic lack of diversity within the arts, culture and higher education.

Most recently, she was appointed as the Creative Engagement Manager for Threshold Studios “Creative Media for Social Change” – a UK-based media arts producers and educators who work nationally and internationally. In this newly created role she will develop, a new community-led engagement programme that can genuinely change people’s lives.

Ann Bukantas

Ann Bukantas
Head of Fine Art, National Museums Liverpool

Ann Bukantas has been Head of Fine Art at National Museums Liverpool since 2002, with responsibility for the management of the art collection and the art curators at the Walker Art Gallery, Lady Lever Art Gallery and Sudley House. She also curates some of the modern and contemporary art exhibitions for the Walker and projects have included exhibitions by Ben Johnson, Wolfgang Tillmans, Henri Matisse and David Hockney.She was a juror for the John Moores 23 (2004) and John Moores 24 (2006) Painting Prizes, and since 2004 has edited the John Moores exhibition catalogues.

Nathaniel Pitt
Director, Division of Labour & PITT projects

Nathaniel Pitt, (1975) born in Wordsley, Black Country, lives and works in London and Worcester UK. Trained as an artist at Falmouth School of Art 1997 and MFA from Wolverhampton University 2009. Pitt is an curator and gallerist, he is the director of Division of Labour and PITT projects. Shortlisted and selected as a contributor on the inaugural De Appel Gallerist programme, he has developed an international profile for his gallery, with past presentations in Belgium, Rotterdam, NY, Dallas, Venice, Hong Kong and Basel and future presentations in Miami and LA and Lithuania. Curatorial projects have included artists; Robert Barry, Brian O’Dohrety, Victor Burgin, Gavin Wade and Cornford & Cross amongst many others. |

Katie Popperwell
Freelance arts & culture consultant and programmer

Katie Popperwell is a freelance arts and culture consultant and programmer based in Manchester. She has directed and produced public programmes for a range of clients including Selfridges, The University of Manchester and HOME, and regularly chairs events across the city. Katie acts as Cultural Director of Manchester’s new St John’s neighbourhood for the developer Allied London, providing additional arts and culture consultancy on projects across the Spinningfields business district and London Road Fire Station, including the annual Spinningfields Art Commission in association with Castlefield Gallery Agency. She is responsible for leading on strategic cultural partnerships, and devising projects and initiatives that engage with the arts sector and the wider creative industries. A former journalist, Katie still occasionally presents the music news on BBC 6Music Radio and has written for publications including The Guardian, Stylist Magazine and Creative Times. She holds a Masters Degree in Critical and Cultural Theory.

Emma Price

Emma Price
Co-Director, Studio Response

Emma M Price has been working in commissioning public art for over 15 years throughout the UK. Emma is co-founder and director of Studio Response, an independent curating and commissioning agency based in Cardiff. They work on the inception and brokering of commissions with exceptional artists, architects, designers and communities to transform public spaces. Emma is a passionate advocate of socially engaged art in the public realm and the evolving appreciation of art and creativity being part of the everyday experience of all. She is an external advisor for the Arts Council of Wales and a board member of igloo Porth Teigr- Community Fund and the The Dewi-Prys Thomas Trust.

Laura Robertson

Laura Robertson
Freelance art critic and co-founder/editor of The Double Negative

Laura Robertson is a freelance arts critic for national and international art magazines ArtReview, Art Monthly, a-n news, and Frieze. She co-founded The Double Negative magazine with Mike Pinnington in 2011, which is a respected platform of contemporary arts criticism and practice from across the UK. She is the author/editor of two books — On Being Curious: New Critical Writing on Contemporary Art From the North-West of England (2016), and The Designist (2012) – and teaches arts writing and professional practice at various art schools. Laura has curated exhibitions at UK organisations Tate Modern, Victoria Gallery and Museum, Exhibition Research Centre (Liverpool John Moores University) and at Bau (Centre Universitari de Disseny, Barcelona). She is trustee of The Royal Standard Gallery & Studios and the Artist Teacher Association.

Lindsay Ann Taylor
Art Curator, University of Salford

As Art Curator at the University of Salford, Lindsay is responsible for the strategic development of the University Art Collection including brokering key partnerships with art organisations and increasing the cultural profile of the University.

Lindsay has expertise in curating exhibitions and developing public collections of contemporary art, particularly in areas currently under represented such as installation and digital art. She continues to contribute to national debate about contemporary collections including presenting at Collections as Conversations, Edinburgh University (2016), London Art Fair (2015), Digital Aesthetic, University of Central Lancashire, (2012), Museums Association (2010) and writing a chapter for New Collecting: Exhibiting and Audiences, edited by Prof Beryl Graham (Ashgate 2014).

At the University of Salford she has co-commissioned work for the collection by artists including Cao Fei, Rachel Maclean and Nick Crowe and Ian Rawlinson and has co-curated exhibitions at Centre for Chinese Contemporary Art and The Lowry. Forthcoming projects include exhibitions at Open Eye Gallery and Salford Museum and Art Gallery and a collaboration with CFCCA and Manchester International Festival.  She works closely with colleagues in the School of Arts and Media to embed opportunities for learning, research and public engagement.

Previously she has held positions at the Harris Museum and Art Gallery, Preston, Tate Liverpool and the Walker Art Gallery. She is a trustee of IOU, Halifax and the Peter Scott Gallery Trust at Lancaster University.

Sophie Lee

Sophie Lee

Sophie Lee is an artist living in Manchester, represented by Mark Devereux Projects. Lee has worked on a number of Arts Council funded projects including the Freehaus art school with Culture Action Llandudno, and the widely acclaimed OutsiderXchanges in partnership with Venture Arts, Castlefield Gallery and BALTIC.

Alongside her art practice she delivers workshops and talks with galleries and universities. Having been awarded Arts Council England Grants for the Arts funding in 2016 for her project ‘Make Place’, Lee continues to engage with her research in to house and home and our relationship to place. She is now working in response to the social history collection at Salford Museum and Gallery.

George Whalley
Director of Finance, HOME

George Whalley is the Director of Finance at HOME, Manchester’s centre for international contemporary art, theatre, film and books. He joined HOME in June 2015 having previously spent 5 years working at The University of Manchester in a variety of Finance roles. Whilst at the University George was involved in establishing the School of Arts, Languages and Cultures, the largest school of the arts at any University.

George qualified as a Chartered Accountant in 2008 whilst working at Deloitte. His clients there varied from TV stations to landfill site operators via clothing designers and solicitors.

At HOME George manages the Finance function, the contemporary art book distribution company (Cornerhouse Publications) and Shop. His expertise in finance now extends to cultural sector tax reliefs, the complexities of charity VAT and financial reporting.

Joanne Karcheva
Marketing and Communications Manager, Liverpool Biennial

Joanne Karcheva is Marketing and Communications Manager at Liverpool Biennial. Joanne is passionate about connecting audiences with art through effective marketing and communications campaigns. She graduated with a BA in Music, Theatre and Entertainment Management from the Liverpool Institute of Performing Arts (LIPA). Prior to the Biennial, she worked with various not-for-profit organisations and artists including Chester Performs, Sefton CVS, The Gallery Liverpool and artist Laurence Payot.

Lesley Taker

Lesley Taker
Producer / Curator, FACT, Liverpool

Lesley Taker is a Liverpool-based arts producer, curator and writer. She is particularly interested in the ways in which technology is changing contemporary art practice and discourse, and in artworks which deal with fluid identities, shifting truths, or unstable narratives. She is Producer / Curator at FACT, where she works with both emergent and established international artists across exhibitions, events and residencies. Here she has developed new work and presentations with artists such as Shona Illingworth; Cecile B. Evans; Ryoichi Kurokawa; and Morehshin Allahyari.

She is currently developing a major group show for FACT which delves into the political potential of gaming and the darker side of play.

Kerry Harker

Kerry Harker

Independent Curator and Postgraduate Researcher, University of Leeds

Kerry Harker is an independent curator, and postgraduate researcher at the University of Leeds. She was Co-founder and Director of Project Space Leeds from 2006-2015, during which time she co-founded The Tetley, where she was Artistic Director from 2013-2015. Recent curatorial projects include Planet Yorkshire by photographer Peter Mitchell (co-curated with Anne McNeill) at Impressions Gallery, Bradford, in 2016; and Between Stillness and Storm by Aidan Moesby and Tim Shaw, which she is producing for venues on the summer 2017 Northern Festival Network, starting with Bluedot at Jodrell Bank, Cheshire, in July.

Artist Info

StudioBook 2017 participating artists: Anna Columbine, Charlie Franklin, Clare Holdstock, Claire Tindale, Elizabeth Kwant, Jilly Morris, Lada Wilson, Libby Scarlett, Lucy May Schofield, Mandy Payne, Susan Gunn and Suzanne O’Hare.

Participating Artists

Anna Columbine

Anna Columbine’s practice is process-based, centred around image and object making through photography, drawing and installation. Working in a mostly analogous way, Columbine blends strategies of creating artwork that considers the numerous platforms and spaces that we exist in, including the virtual, the imaginary and the atmospheric.

Her work often surrounds the idea of ambiguity, suggesting a number of themes and ideas that play with space, light, form and colour.

Image: Colour/I like my colour, Anna Columbine, 2017. 35mm film. Courtesy of the artist.

Charlie Franklin 

Charlie Franklin’s practice is rooted in the language of materials, and collapsing the distinction between sculptural form and the painted surface. She approaches her work as a series of experiments, where knowledge is gained through doing, to see how colour, material and scale communicate. The act of covering is important to this process, transforming the skin surface of pre-existing forms such as cardboard boxes or off cuts of canvas. These core materials become masked and misshapen as they are coated, collaged, painted or gilded. Transmuting and slipping between categories is central to her research, negotiating the shifting positions between experimentation and ritual, presence and absence, and Minimalism and the Baroque.

Image: SEA SLIP, Charlie Franklin, 2017. Dutch metal, oil, tarpaulin, nylon. Image courtesy of the artist.

Clare Holdstock 

Clare Holdstock’s works dissect urban spaces. From these spaces she selects objects – such as kerbs, road signs, discarded rubbish – transmuting them into abstract forms. Holdstock is fascinated in the dichotomies as well as the corporeal connections between these objects and high Modernist architectural design.

Image: Periphery series, Clare Holdstock, 2016. Air pillows in Bauhaus colours, ciment fundue and fibreglass. Image courtesy of the artist.

Claire Tindale 

Claire Tindale’s practice is underpinned by a desire to create work which communicates with an audience; the aim being to promote understanding and empathy around a particular subject, or theme. Often site-responsive, Tindale employs variations in scale to explore physical and psychological spaces in connection with aspects of the human condition, and associated vulnerabilities that this can entail. Resultant pieces are, at times, playful, while at others they can be emotive or thought provoking.

Image: In Those We Trust, Claire Tindale, 2013. Plastic, wood, paint, rubber, display case. Courtesy of the artist.

Elizabeth Kwant 

Kwant’s work is an ongoing exploration of the politics of representation. As a multi-disciplinary artist she frequently employs   layering techniques; such as incorporating screen-printing and collage into her paintings that re-present and reinterprets the original narrative. For the past five years her work has focused upon migration, and the socio-political effects of displacement. Working directly with asylum seekers and with appropriated media images, her socially engaged practice explores the relationship between the built environment, communities and our personal migration stories.

Image: Fare Thee Well, Elizabeth Kwant, 2017. Household paint, screen print, fabriano paper. Image courtesy of the artist.

Jilly Morris 

Jilly Morris’ practice is concerned with marks that tell a story in the landscape, or moments that retain a physical presence in the human condition; a mapping of memories or moments. Jilly is primarily interested in creating work that is response led to a place, or process driven and researched.

Image: The Writing on the Wall, Jilly Morris, 2010. Stitched newspaper installation. Image courtesy of the artist.

Lada Wilson 

Lada Wilson’s practice is permeated by language and words. Incorporating elements of culture, language and audience, their interweaving explores not only the meaning of words but also their spatial connotations by reworking them as sculptures, performances, artist books and exhibitions. Wilson is strongly influenced by the spaces where her artworks are located. The reconfiguration of space, often not a typical white cube gallery space, is as crucial as the artwork placed within it.

Image: Engraved. Memory. Flow., Lada Wilson, 2017. Still from performance. Image courtesy of the artist.

Libby Scarlett

Libby Scarlett’s practice investigates her own and other’s relationship to home, freedom, movement, change, escape, waiting, aloneness, being held [back], being drawn [back].

Through these themes, she looks at how we connect with others and the environment around us to feel belonging, intimacy and identity. She investigates through participation and experimentation, exploring interventions and gestures to promote interaction with each other and the space around us.

Image: Twizzle Hard, Libby Scarlett, 2016. Still from video. Image courtesy of the artist.

Lucy May Schofield 

Drawn to isolated places, spaces that are at once remote or time extending, Schofield is interested in exploring how spaces impact on our sense of dislocation or belonging. Her practice explores language, impermanence, vulnerability and belonging in terms of the cultural narratives we inhabit. Responsive to emotional and geographical landscapes she is currently

developing research examining notions of time, light and space in relation to self-imposed routine and ritual in a series of works relating to imprints of natural phenomenon which, while dictating everyday life, are intangible actions: the move from darkness to light. She is interested in the conversation between the temporary and the permanent, the familiar and unfamiliar, the awkward and the intimate.

Image: The moon and the sledgehammer, Lucy May Schofield, 2016. 15 collages combining silkscreen and mokuhanga (water based woodblock) printing form the portfolio. Japanese kozo and gampi on Stonehenge paper. Image courtesy of the artist.

Mandy Payne 

Mandy Payne is a painter/ printmaker whose work is largely inspired by landscape, particularly the urban and edgeland areas of Sheffield, where she lives. Payne is particularly attracted to locations that are often overlooked or neglected and for the past 4 years she have been exploring Park Hill; the Grade II* listed council estate and one of Britain’s largest examples of Brutalist architecture. Payne is interested in the spaces people inhabit, the traces they leave and the capacity of places to absorb memories and experiences.

Image: Brutal, Mandy Payne, 2014. Aerosol spray paint and oil on concrete. Image courtesy of the artist.

Susan Gunn 

Susan Gunn’s paintings reveal a sculptural physicality that reflect an enquiry into the fragility of their existence.

Gunn’s practice is concerned with the phenomenology and exploration of paint on canvas. She works with raw, natural earth and mineral pigments, and base substances such as chalk, coal, marble dust and organic waxes that are made using her own formulas.

A pre-occupation with the origins and anthropology of colour and naturally occurring substances are intended to trigger notions of life, death and evolution. The works that survive the play of materiality and process are held together in a broken state of suspension.

Her paintings are a contemporary monument to the history of the materials, the ‘objet petit’ of memory, and painting itself.

Image: Lamp Black: Ground, Susan Gunn, 2016. Natural earth pigment & gesso on canvas & museum grade aluminium stretcher. Image courtesy of the artist.

Suzanne O’Haire

Suzanne O’Haire’s work is a process of defragmenting and re-assimilating the order of the mundane and discarded; creating permanent structures out of impermanent matter. Mixing this with personal narratives informs new objects that contain metaphorical elements. What O’Haire finds – or what finds her – plays with notions of chance and codified puzzles.

Image: micronation 1, Suzanne O’Haire, 2016. Rubble, cast concrete and snowcrete, card, mirror, glitter and found objects. Image courtesy of the artist.

Further Info

Mandy Payne awarded StudioBook 2017 Commission to Collect

Mark Devereux Projects are proud to announce Mandy Payne as the recipient of this year’s StudioBook Commission to Collect award from the University of Salford Art Collection. Following on from her recent project based around the iconic Park Hill estate in Sheffield, Payne will be making a new painting considering the recent impacts the tragic Grenfell Tower incident has had upon Salford’s growing housing developments.

Cranes, scaffolding and industrial machinery are all common sites through Salford, as redevelopment of Manchester’s neighbouring city moves at a relentless pace. Following the devastating tragedy of 14 June 2017, a growing crisis has emerged over the issues of cladding new and existing buildings. Mandy Payne’s commissioned work will aim to highlight the plight of the affected residents during this political wrangling.

“Mandy’s proposal fits brilliantly within our ambition for the art collection to ‘tell the story of now’. Mandy’s painting will reflect a particular moment in-time in Salford – highlighting the plight, and somewhat impossible dilemmas facing both the council and the community regarding cladding. Though rooted in place, the work will speak to the growing national crisis of a deeply divided country. The painting will be a major new asset for the Collection.”

[Lindsay Taylor, Art Curator, University of Salford]

Sheffield-based artist Mandy Payne has received wide acclaim for her works surrounding the Park Hill estate (Sheffield), with works being selected for the John Moores Painting Prize (2014 & 2016), the Royal Academy Summer Exhibition (each year between 2014-17) and The Threadneedle Prize (2013). Focussed on locations that are in a transitional phase, overlooked or derided, Payne’s paintings aim to highlight the memories and experiences that these sites have or once had.

“I am thrilled to have been awarded the StudioBook Commission to Collect opportunity with the University of Salford Art Collection. Having spent an intensive fortnight with all the other applicants I was fully aware how stiff the competition was going to be. I am particularly excited about the project, as my proposal has strong links to my existing work but gives me the opportunity to experiment and develop it in a challenging new direction.”

[Mandy Payne, StudioBook 2017 artist]

Mark Devereux Projects have been delighted to secure this brand-new commission for, what is hoped will become a significant piece within the University of Salford Art Collection. As part of the organisation’s eight-month StudioBook artist development programme, each of the twelve participating artists were encouraged to translate the wealth of information provided by the twenty-seven different speakers during the fortnight programme into an application for this opportunity.

“It was so difficult to make a decision this year as the standard of the proposals was incredibly high – everyone had clearly put into practice what they had learned at StudioBook. The variety of ideas, from live performance through to sculpture, video and installation also gave the selection panel much to debate and discuss. There were a number of proposals that we would like to have supported.”

[Lindsay Taylor, Art Curator, University of Salford]

Mandy Payne’s StudioBook 2017 Commission to Collect artwork will be unveiled as part of the launch of In Nothing Flat, featuring each of the twelve StudioBook 2017 artists. Taking place at Old Granada Studios, Manchester the exhibition will launch on Friday 3 November, continuing until Wednesday 15 November.

Further information

Mandy Payne |
Mandy Payne (b.1964) lives and works in Sheffield, U.K. She graduated from the University of Nottingham in 2013 with BA Fine Art. Since then she has exhibited her work extensively. Recent exhibitions include: Royal Academy Summer Exhibition, London (2017, 2016, 2015, 2014), John Moores Painting Prize, (Walker Art Gallery, Liverpool, 2016 and winner in 2014) and John Moores Painting Prize in China, (Jiangsu Art Museum, Nanjing, China, 2016), Contemporary British Painting Prize, (London and Huddersfield, 2016), main prize winner in the New Light Arts Prize, Bowes Museum, Barnard Castle, Harrogate and London, 2015/2016), National Open Art Competition, RCA , London (2015) and Somerset House (2014) and The Threadneedle Prize, Mall Galleries, London (2013). She has recently completed a two-year Fellowship in stone lithography at Leicester Print Workshop for which she received a GFTA and Elizabeth Greenshields Foundation Award and an intensive artist development programme (StudioBook 2017) with Mark Devereux Projects. She is currently working on several new exhibitions and private commissions. Future exhibitions include: Manchester Buy Art Fair (Represented by Zillah Bell Gallery), ‘Utopia Deferred’, Dean Clough, Halifax, ‘ A Study In Stone’, Tarpey Gallery, Castle Donnington, Mark Devereux Projects StudioBook Exhibition, Old Granada Studios, Manchester and ‘Contemporary Masters From Britain; 80 British Painters of the 21st Century’, Yantai, Nanjing and Tianjin Museums, China.

University of Salford Art Collection |
The University of Salford Art Collection includes over 600 works of modern and contemporary art, and exists for the benefit of students, staff and public. As the University does not have a permanent gallery space, we are able to think differently about what it means to develop a museum collection in the 21st century. The Art Collection is therefore distributed across key locations around the University and is available for loan to other institutions both in the UK and internationally.

The University Art Collection’s aim is to encourage engagement with the arts and to support excellence in teaching, research and community engagement and to play a leadership role in contributing to culture in the North West of England. We actively contribute to the University Vision ‘by pioneering exceptional industry partnerships we will lead the way in real world experiences preparing students for life’. We believe it is important to support the work of living artists at all stages of their careers – from a student through to an internationally established artist. We also aim to develop a distinctive collection, which includes work not collected in a significant way elsewhere. We have an innovative and unique acquisitions policy, commissioning and working in collaboration with local, regional and international partners focused on three main areas: About the Digital, Chinese Contemporary Art, and From the North.

Image: Mandy Payne. Image courtesy: Heidi Donohoe

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