Shaun Cassidy (British, born 1966)
“My recent sculptural work has been primarily focused on exploring a traditional modernist concern, namely, the relationship between color, surface and form. This series of abstract sculptures are constructed from steel and colored with an industrial powder coated surface. The intense colors combine with the sculptures simple shapes and distressed or smooth surfaces to evoke feelings and a contemplative state one often associates with being immersed in a natural environment of astounding beauty.”
Shaun Cassidy was born in Surrey, England in 1966. He studied sculpture at Norwich School of Art, Norfolk, UK and at the University of Alberta, Canada. His sculptures have been exhibited extensively throughout the US including the Socrates Sculpture Park, NY; Franconia Sculpture Park, MN; Forum for Contemporary Art, St Louis, MO; the Columbia Museum of Art, SC; and the De Cordova Museum, MA. In 1995, Cassidy exhibited five large scale sculptures at the Museum of Contemporary Art in Marseilles, France. He has been awarded numerous residencies including the McDowell Colony, NH; Djerassi Resident Artists Program, CA; McColl Center for Visual Art, Charlotte, NC; and, Sculpture Space, NY. In Charlotte, Cassidy serves on the Board of the McColl Center for Visual Art and is a lead artist for the Innovation Institute. Over the last fifteen years Cassidy has produced numerous public art commissions. Recent projects in Charlotte include the design and fabrication of forty leaf fence insert sculptures for the Charlotte Area Transit System and three large sculptures for the Ritz-Carlton Hotel. Cassidy is a Professor of Sculpture in the Department of Fine Art at Winthrop University, Rock Hill, SC.
Artist Statement for drawings.
“The drawings are created by sanding through layers of paint and often through the paper itself. One normally thinks of drawing as an additive process, yet these works are created by carving away material. Plywood templates are laid under the paper to create a shift in surface that the sander is able to register. The works record physical activity and use the process of erosion to create traces of imagery and form. The resulting eroded surfaces define the shapes of the templates, the texture of the paint and create unexpected juxtapositions of colors and forms. The drawings on paper are then mounted on wooden boxes. In these drawings the majority of templates were derived from images that have associations with memories of place and activity. The works are also dominated by visual references to activities that relate to my two elderly grandmothers, namely gardening, sewing and knitting.”