Shaun Cassidy

	Passage 12" x 12" x 8" ceramic
	Duck 18" x 17" x 9" ceramic and steel
	Big Mouth 24" x 17" x 15" ceramic and steel
	Mr. Elephant 16" x 14" x 11" ceramic and steel
	Too Sweet 10" x 11" x 13" ceramic and glass
	Cutaway 13" x 19" x 21" ceramic
	Blue Slice 19" x 11" x 12" ceramic
	Little Tail 19" x 19" x 19" ceramic
	Blue Seam 60" x 60" box mounted acrylic rubbing on paper
	Title: Agapanthus Medium: Acrylic Rubbing on Paper Size: 38" x 38"
	Title: Taking Time Medium: Painted Wood Size: 102" x 196" x 196"

Selected Biography:

Born in London

EDUCATION - 

M.V.A University of Alberta, Canada, 1989-91

B.A. Honors, Norwich School of Art, UK, 1985-89

West Surrey College of Art and Design, UK, Foundation Studies Diploma, 1984-85

EXHIBITIONS - 

What's New Two, Spirit Square Galleries, Charlotte, NC, 2002

What's New, Spirit Square Galleries, Charlotte, NC, 2002

McColl Center for Visual Arts, Summer Exhibit, Charlotte, NC, 2002

Rites of Passage, Bank of America Plaza, Charlotte, NC, 2001

Lorraine Kessler Gallery, Poughkeepsie, NY, 2000

Plattsburgh State Art Museum Sculpture Park, NY, 1999

BIBLIOGRAPHY - 

Jan Garden Castro, Sculpture Magazine, December, 1997

Ann Kiefstad, On View, New Art Examiner, September, 1999

Alice Thorson, Review, Art in America, May, 1999

Anne Raver, Of Time and River, New York Times, July, 1996

AWARDS -

Phi Kappa Phi Professor of the Year, Winthrop University, Rock Hill, SC, 2001

Faculty Development Grant, Kansas City Art Institute, Mo, 1998-99

Jerome Foundation Grant, Franconia Sculpture Park, Shafer, MN, 1998

COMMISSIONS -

Marietta Chair Building, Kansas City, MO, 1999

City of Poughkeepsie, NY, 1993

RESIDENCIES -

McColl Center for Visual Arts, Affiliate Artist Fellowship, Charlotte, NC, 2001-02

Sculpture Space, Utica, NY, 2001

The McDowell Colony, NH, 2000

Triangle Artists Workshop, Marseilles, France, 1995

STATEMENT -

Cassidy's large scale constructions mime and mine the territory established between stage and audience, an awkward relationship when the proscenium is unpopulated.  The work assumes the roles of stage (an actual configuration), actor (an implied presence) and story (an inferred narrative), requiring the viewer to complete the narrative and identify metaphor according to his or her disposition and experience.