It has to be one of the best decisions I made all year to have this tutorial with Yuen. Although I have had to keep moving the tutorial, because of illness or the Nottingham trip I have finally got to see him. Yuen's perception of my drawing and conceptual input has pulled up so many useful points. First of all, my nude self portrait we discussed how my fiancee wanting the paper to cover the genitals has drawn attention to it making the piece even more sexual. He then ask me what if you move the paper over the hand? and when I did I immediately wanted to know what I was holding although I knew it was nothing...weird. Second I have left off my scars and earring and other distinctive marks, for which I had know answer, apart from it must have been completely subconscious I hadn't done it intentionally and I hadn't noticed. Maybe there was a possibility that because I was searching for male perfection in contemporary society I tried to perfect myself, this also would then mean that these distinctive marks on my body I perceive as imperfections. And it questions wether there piece is a self portrait or if these marks define who I am or where I've been, my history. All I know is as soon as I got home I made this piece, (right) highlighting the imperfections I missed on my self portrait. I couldn't stop myself if I tried. |
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Worrying. The choice word of my Art context lecturer Penny McCarthy when I asked to to look at my portfolio of work around children and drug abuse. She was more interested in my own phycological state of wellbeing than anything else. She wanted to know more about my inspiration and background, which I guess I will have to lay bare if I'm going to be confronting these issues. And she also wanted to know where I find my imagery; you see she would prefer me to be drawing from life or using imagery that I had taken. However we jested that to do this I would be putting myself into some pretty dodgy situations which wouldn't feasibly be possible nor would I really want to. She also showed a deal of interest in my drawing style asking me questions like do I use a full range of pencils as the tone in my drawings are very muted. All in all, I wasn't particularly sure if Penny really liked the work I was doing or wether she was just trying to be kind. Anyway the conversation was quickly moved on to my Art Context essay for which Penny was my lecturer. I showed her a reading list that I had put together to take to the library and a small selection of artist that could influence my essay. Penny had nothing more to do than encouraged me to pursue my reading and reaffirm that the artists I was looking at were very interesting, finishing with, she will look forward to reading what I come up with in March. I guess I could say that at the moment the Art Context work is going well the Studio Work, not so much
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Richard CassidyEmerging artist from Derby, England. Currently a student at Sheffield Hallam University. Archives
May 2015
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