Alexander Devereux

Dissertation Contextualising Commentary

September 2016
Words 4030
Pages 12

Student ID - 100142468
Masters in Creative Entrepreneurship
Tutor - Ian Chance
University of East Anglia (UEA)

Submitted alongside this is an online link with evidence of each element I am

submitting for this dissertation. Please copy the link into browser as it is written
below with no spaces http://www.alexanderdevereux.com/dissertation.html
Introduction
For this creative dissertation I am submitting my current practice. I am a young
artist who makes sculptures, installations and paintings and graduated with a first
class BA in Sculpture at Camberwell College in 2014. This contextual statement will
clarify the many elements handed in for my Creative Dissertation. The aim of these
elements is to enable me to continue establishing myself as an artist, develop my
creative practice and fund myself to accomplish it all. I believe this to be the most
relevant and useful approach to the creative dissertation for this course - rather than
submitting a single event or piece of work, as in reality I will have to do all this and
much more in order to sustain a successful creative practice and career trajectory. I
believe what I have submitted shows entrepreneurial activity within my own practice
and provides a written commentary on how I have understood, addressed and
exploited, the issues raised throughout the course.
The amalgamation of these different elements is relevant to many recurring topics
and issues raised through the course. Embarking on the current MA. has enabled
me to see how I am now able to operate differently and more professionally. Over
the last 11 months with Ian Chance and key visiting lecturers I have been able to
make new contacts with whom I am continuing to develop a working relationship.
This is in the form of exhibiting new work, representing myself as an artist, gaining
commissions, expanding the area where my work is shown (not just in London),
advertising myself as a contemporary artist in ways other than just exhibiting my art
(such as writing an article for publication), and finally helping me to survive on my
own.
As well as meeting these inspirational people and gaining several exciting peers to
work with I have been able to understand the best way for me to work and sustain
myself as an artist in London. This is especially important in the current climate
where the place in which I have chosen to base myself (the UK and London) is

currently extremely economically uncertain. With this in mind the sections of my

creative dissertation, such as securing a studio that is stable and affordable and
proposing self-motivated installations, focussed projects and exhibitions have
become even more relevant in order for me to survive the storm that looks set to
unroll over the next few years. However, there are bound to be new opportunities
that will come out of this new climate and this course has equipped me with the skills
required in order for me to identify them and to take advantage of them.
The next sections will detail what I have submitted and describe why I have chosen
to do these different elements. I will describe how I have addressed the different
issues that have been raised on the course and their implications for the future
before. forming a conclusion to summarising how these all fit together.
These elements are

An article I wrote for an online magazine, Creativity Journal.

(www.creativityjournal.net)1

The development of a proposed outdoor large installation for Cheeseburn

Sculpture Park in Northumberland. (http://cheeseburn.com)

Completing a paid commission for Travers Smith LLP in the City of London.
(http://www.traverssmith.com)

Sourcing a new studio.

Developing my current thoughts on the nature of my practice, its diversity and

unifying content, including how it may best be made accessible to clients,
galleries and commissioning bodies

The production of a new body of work.

Having a relevant and up-to-date website on which to display my new work.

Creativity & Human Development e-journal. The aim of this independent, interdisciplinary e-journal is
to publish research papers and features on all aspects of creativity, innovation, entrepreneurship and
human development bringing together these fields of study. It includes work in education,
psychology, science and technology, arts and culture, business, and health and well-being. In
particular, the journal aims to provide:
A place where individuals and organisations can obtain impartial information on creativity in
its widest sense - being creative about one's life and work
Access to a plurality of views and perspectives on creativity, innovation and entrepreneurship
Access to both high quality academic research papers and popular features.
The journal includes blind peer-reviewed academic papers, popular features, art works, interviews
and book reviews.
This journal is funded by sponsorship and subscriptions from universities and other organisations.

Article
- (copy into browser http://www.alexanderdevereux.com/dissertation.html )
Japan - Theatre, respect, permanence and contradictions,
An important part of the course that arose was to be able to spot an opportunity
where there may not have been one before, and in doing so make the most of it.
Following a talk from Venu Dhupa it was abundantly clear that being an artist in my
studio in London and only showing work in London wasnt a very sustainable
strategy to growing and progressing as an artist. Venu had worked on various
creative projects around the world and also published her own articles on the
Creativity Journal website, as well as helping to establish it in the first place.
Following this I saw the opportunity to meet new people and gain exposure through
this online platform that is read in 108 countries around the world. The timing was
perfect as the editors were writing a section on creativity in Japan and were looking
for further contributions.
The title of the article Japan - Theatre, respect, permanence and contradictions,
tackles other aspects of what I have submitted, regarding ideas around my own
work, and these should become evident when reading the article.
There were several purposes in writing an article for Creativity Journal. Firstly, to
provide me with a process whereby I could bring together and evaluate the findings
of my research trip to Japan; secondly to share this with a community of creative
people who may also be interested in similar aspects of Japanese culture; and thirdly
to gain further experience and exposure as an artist via a format other than a
conventional visual exhibition. Although my findings of the trip regarding Japan are
likely, in part at least, to have been written about at length before, my aim was to
research connectivity with my own practice and ideas, especially with regard to
industrial heritage, its design and longevity in use, along with direct experience of the
aesthetics of everyday life in a different but advanced contemporary cultural context

When the article goes live in September. I will send copies to the people I met in
Japan and hope to further extend interest in my work. As this is a new avenue for
me, the possible benefits are still unclear before but it could lead to visiting those
places again for further inspiration and networking and hopefully with other people
becoming aware and interested in my art practice. However, at the very least, it was
the perfect exercise to contextualise quite an abstract trip and collate what may
seem to be random thoughts into a coherent piece of work that I can share with
others.
Cheeseburn Sculpture Park, Northumberland
- (copy into browser http://www.alexanderdevereux.com/dissertation.html )
The proposal for Cheeseburn Sculpture Park is by far and away one of the most
ambitious I have submitted, especially in terms of its feasibility, structural
engineering (making the sculpture stand up), and to whom it was proposed. For me,
it is a major step towards realising large-scale artworks that are set in, and respond
to, a specific setting or landscape.
Realising the proposed sculpture will tackle a huge array of issues that arose on the
course but one of these issues was overcome by this project being a self-generated
opportunity as opposed to an application to an open call where there are normally
hundreds of other applicants. I have also addressed how I would finance this
project, whether it is physically possible, how long will it take, why Cheeseburn would
want to do it, how I can do it, how I protect myself if it all goes wrong (both financially
and physically), and importantly, given my lack of experience, by identifying those
who can help me, complete the project to time, and to budget, while maintaining
artistic integrity. It is the last point I will focus on as the others I believe are
addressed and achieved in the proposal and feedback/current dialogue I have with
Mathew Jarratt and Cheeseburn. To illustrate this point, I should add that as the
curator of Cheeseburn Sculpture Park Matthew Jarratt is experienced in realising
and overcoming the problems that may arise when placing large sculptures in sitespecific places (in his involvement in the North East of Englands Case for Culture
and current art projects in the North East, London and China. The skills he

possesses regarding these projects range from, sourcing funding both from the
public and private sector is integral to realising this. Realising this project with his
help will enable me to gain vital insight and knowledge along the way for this and
other such projects.

As well as realising a piece of work in another part of the country, where the arts and
culture seem to be booming in a post-industrial area, other outcomes of this may be
gaining new commissions, a wider audience able to view my work, being supported
by a large institution and demonstrating my technical skill and capabilities to
support this (i.e. I can make this out of MDF (a wood based sheet material, Density
Fibre Board) and it will last a lifetime). This in itself could lead to further opportunities
with Cheeseburn, Mathew and potentially international arts organisations. It is a
great portfolio piece and a perfect way to learn while on the job.
Travers Smith LLP
- (copy into browser http://www.alexanderdevereux.com/dissertation.html )
Another successful commission that I was asked to submit a proposal for (on the
back of a previous unsuccessful open call) is with the London-based law firm Travers
Smith LLP. Many large companies who want art displayed in their offices often
employ an art consultant to provide the link between the company and the artists.
Specifically, in this instance they include corporate responsibility by supporting
young artists through asking them to propose a piece of work for a selected space.
(A similar avenue in the past introduced me to the MA here at UEA and ultimately
resulted in me being on this course).
However, in this case, approaching and working with an art consultant and a law firm
requires a completely different approach to proposing a work to an arts intuition such
as Cheeseburn. An arts institution may be expected to have a greater understanding
of a concept and how it is relevant to the artist, whether or not it is do-able. For the
Travers Smith proposal, the brief being outside what I would usually apply for, I
wanted to do something that would be different and I recognise that

simplifying my

practice in order to develop the work in conjunction with the firm is very important
and strategic.
At the moment, this style of undertaking commissions and selling art supports my
studio practice. It allows me to sell work for a set price. I gain the kudos of having
work as part of a private collection; the work usually doesnt have a commission
taken off it; and sometimes, despite often having to protect myself with legal
contracts, I am able to propose something that will develop my practice by trying out
new ideas. I do not want to make the same work over and over again or be a solely
commission-based artist so finding a happy balance I believe is essential for the
future.
This overcame huge hurdles that arose on the course regarding funding myself and
having a sustainable studio-based practice, and ultimately to exist as a functioning
business. Maintaining a good working relationship with these art consultancies is
critical. However, being able to understand what they are proposing, whether it is a
fair deal and if it is something I would like to do or a project that is related to my own
art is very important and has lead to me turning down or renegotiating the terms with
companies.
In addition to revenue streams such as this one, since beginning the course I have
managed to start being represented by two companies that rent works to corporate
firms. This is a positive development as it provides income from a patron who is also
storing my work for me... (Naturally I recognise that this can not be relied upon in the
current economic climate as a London-based firm may see better opportunities in
another country but hence the importance of being seen internationally as an artist
(and not just in London or the UK). Often the art rented or company art projects are
the first expense or luxury to go in times of economic strain, but a professional
practice that incorporates a diverse array of revenue streams from institutions such
as sculpture parks, the commercial sector and opportunities within the public sector
makes my practice more resilient than if I simply seek to just sell art works to
collectors or other independent clients.
New studio

- (copy into browser http://www.alexanderdevereux.com/dissertation.html )

Gaining commissions and making work is essential, but having a place or space to
make the work is fundamental - both for my mental well-being and to possess the
physical means to realise larger-scale and other ambitious projects. While including
sourcing a sustainable studio as a part of my dissertation may seem obvious it is not
easy. By having secured favourable access to a space big enough to accommodate
my work and store my tools and equipment, I am able to develop my practice in
professional conditions and in the right frame of mind
I was previously in a studio sub-let with a group of artists when I proposed turning a
disused storage space into my studio. At the end of July, I fixed the leaking roof,
emptied the space, installed a work bench and gave it a lick of paint, and moved in.
Having now gained a secure and affordable space I have overcome a huge hurdle. It
is not a shared space and is situated in an area that has recently become heavily
populated with artists. The rent is comparatively cheap by current standards, (200
per month), thus keeping my overheads low, which is crucial in being able to handle
any cash flow problems that may arise. There is a communal space with larger tools
that is shared between 8 other creative people who together have a huge variety of
skills that I can call upon and potentially ask for and gain work. Also its location in
South Bermondsey is a 10-minute cycle away from where I live and makes it easy
for me to access and acquire a huge variety of specialist materials at an affordable
price - something I would be less able to find outside London.
The one draw-back though in this case is that South Bermondsey and the Old Kent
Road are part of a huge redevelopment plan, which means that the studio may not
be secure for more than another 2 years. However, since the vote to leave the EU a
large proportion of the funding for urban redevelopment may be less available in the
future which could result in studio tenure continuing for longer.
In any event, given that I am now part of a group 9 creative people who need space
to make and work, if we are forced to move out we can do so together, potentially
making it cheaper and easier when the time comes. While here in my current studio I

will be able to invite galleries and curators to visit and have other events to enhance
my art practice such as studio exhibitions.
New body of work
- (copy into browser http://www.alexanderdevereux.com/dissertation.html )
Having secured and moved into my new studio, I am now able to continue
developing my own work. I wanted this to be a part of my dissertation because
making and developing my ideas is what I enjoy doing. I was once told the role of an
artist in making art is to reconcile the irreconcilable. This is my motivation and why I
enjoy making art; without creating and developing my art practice I am not doing
what I enjoy or set out to do. Over the next few paragraphs I want to outline what I
am interested in, how I make work around this and what my studio practice is like as
a result.
My artistic practice intends to be a series of visual contradictions. The first of these is
that I use contemporary materials and methods to produce objects that give the
illusion of being from the 19th century. By using materials commonly found today I
am able to exploit the technology and tools readily available to me. This could be
from using computers to cut the materials, to using new chemical processes to
change the appearance of the finish. Through this process the installations and
sculptures become a part of a time that has long since gone. These historical but
also new contemporary objects constantly play with perceptions on the part of the
viewer

The second of these contradictions is that the objects I make today are placed in art
galleries for their aesthetic appeal and without a function. While in the 19th century
the objects I am inspired by primarily had a utilitarian, mechanical or industrial
functional and purpose derived from civil engineering. I will often make work around
a particular shape that references an architectural style or period. For instance, a
beam, a cylinder to hold a station clock or railway lantern. These become the basis
for collections or categories within my own work, sometimes making my studio look
like a Victorian bespoke architectural supplier.

The clean, crisp and linear shape is still hand-made today but then aged, oxidised to
appear old. I historicize something completely made up. The fake alludes to a
theatrical quality of a set or prop, where an alternative reality may play out or unfold
in the mind of the viewer. In the 19th century industrial era ornate decoration was not
purely for an aesthetic purpose, it was often art with a utilitarian purpose, to look
grand in the space it occupied was integral to its purposes. Whether a station, clock
or lamp its purpose is combined with being art. I think about these purposes and
styles while making and developing the work by laser cutting the wood, but unlike
carefully designed and planned Victorian cast-iron work the final outcome of my
objects is sometimes not clear when beginning to make the work

This utilitarian aesthetic, merged with ornate design, I have found evident in the
Japanese approach to industry and design. The culture created from this approach
in Japan is one of wanting to develop and improve the existing. Their ability to
interpret a concept in operation, such as railways, and to improve them is arguably
unparalleled throughout the world. I believe this approach of pioneering new
technologies and ways of making - regardless of the logistics or cost - derives from
their respect for an object and its function, and through developing its functionality,
its aesthetic, and usability, their respect towards it is reinforced. Within my own
practice I strive to do the same - except I strip the object of its mundane function
and only imply what it might or could be, all the while identifying it to be understood
and respected as art.
Further informed by my recent experience of Japan, ranging from its civil engineering
to the aesthetic of everyday life, my resultant strengthened art practice therefore
derives from notions of contradictions or opposites such as the industrial versus the
post-industrial, the utilitarian versus the useless, the real versus the theatrical, the
permanent versus the transient.

Website

please visit www.alexanderdevereux.com

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Finally, with this new body of work I need to be able to display it. My website
currently has an artists biography, a CV for the last 3 years, and incorporates newer
methods of networking such as an automatic link to my Instagram (photo blog),
Pinterest and Facebook. Furthermore, I am currently in the process of making a
series of videos about my studio practice and inspirations as well as a map or guide
to where website visitors can view my works currently on display.
Websites are often thought of as a secondary source of viewing or exhibiting.
However, I have often found that it is the first place someone will go to if they want to
find out about my work, therefore it needs to represent my work in the best way
possible way. I must have complete control over this which is why I have developed
my website without the use of a web designer or on-line website builder, also thereby
saving dramatically on costs .
Conclusion

One of the reasons of doing this course was to be amongst other creative people,
where ideas could be developed and expanded upon and methods of realising them
drawn out. I have had the opportunity to develop my own ideas alongside others
over the last 10 months that will enable me to continue on this path into the future.
What I have submitted for the creative dissertation is just the beginning of that
process.
The impact of entrepreneurship on my visual practice I hope to continue to develop.
The article I have written about Japan; both proposals to Travers Smith LLP and
Cheeseburn Sculpture Park; my website; studio and new body of work are seemingly
disparate or non-related until one introduces the idea of the artist as an
entrepreneur. This entrepreneurial practice and approach to being an artist becomes
clear when aligning it with the attributes of a creative entrepreneur. The aim is to
embrace and manage these attributes of creativity, collaboration and
resourcefulness and articulate them as an artist within my own practice.

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I have discovered that these entrepreneurial attributes are also directly in line with
the work I make. The entrepreneurial is an underlying theme in my artistic practice,
especially in my methods of making, the resultant art work and advertising myself to
others. Furthermore, in my mimicking the industrial revolution I am also highlighting
the entrepreneurial attributes that pioneered that era of development.

I am now thinking of future projects where I can fund myself in producing artwork in a
specific space and have my own landscape to work with. Alongside realising new
projects, I will continue to develop my ideas with groups of creative people not just in
London. The diverse group on this M.A. has introduced me to other creative people
in China and American I will keep in touch with. Looking forward I am better placed
to be able to invite people I meet through these networks to my studio, exhibitions
and projects. From this I hope to gain contact with other arts organisations and
individuals including galleries, collectors, trusts, authorities, businesses and
charities who I can attract to support my practice and entrepreneurial activities.
Throughout this course I have learnt a lot about myself and what I am and am not
capable of accomplishing. The realisation that not everything is possible on my own
has led me to source others who are willing to help support me in realising my
ambitions the involvement of Mathew Jarratt at Cheeseburn Sculpture Park being
a prime example. Despite awaiting the final outcomes of the projects I have
submitted for this dissertation - due to the nature of realising these elements in my
art practice, I am in no doubt that have put myself in a position to be able to spot the
right opportunities for me to develop my practice via sourcing funds to continue
establish myself as a successful artist.

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