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Sarah Casey supervises 3 postgraduate research students. If these students have produced research profiles, these are listed below:

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Dr Sarah Casey

Senior Lecturer in Drawing and Installation

Sarah Casey

The LICA Building



Tel: +44 1524 593172

Current Teaching

 I teach drawing sculpture and installation on the 2nd and 3rd year studio practice modules. I also supervise the studio practice of postgraduates in Fine Art working in 3D or those working across drawing and sculpture. I am keen to supervise students with interests in drawing and materiality or those interested in relationshops between art and science. I was Director of Study for part one in Art from 2010-2015 leading the teaching on the first year Fine Art studio practice course.

Research Interests

My research is practice based, undertaken primarily through studio work. An ongoing concern is in probing the complex cultural, social, material and visual value of delicacy to find ways to analyse, interpret and represent the fugitive or visually elusive. On a formal level, this practice is typically characterised by a cross-fertilization of spatial and sculptural languages, processes and materials with those of drawing.

For several years I have been investigating hybrid approaches to drawing, informed by collaborations with medics, archaeologists and conservators which explore commonalties between approaches in drawing and those in professions that must cope with the delicate or fugitive in their routine practice. I am particlarly interested in what the analytical tools of Art might share with invesigative procedure in these Sciences. This research is grounded in fieldwork/ site visits and has seen me working in collaboration with scientists and other professionals on sites from Hadrian's Wall to Kensington Palace. Most recently, I have been working with cosmologist Kostas Dimopoulos and anthropolgist Rebecca Ellis on the project ' Dark Matters which examines the different ways we work with entities that are 'imperceptible'.  Other recent projects include: Common Grounds, a collaboration with The Bowes Museum to use drawing to catalogue a series of 54 lace caps that had lain unexamined in carriage trunks for over 70 years; and Hidden Drawers ea catalogue publication and solo exhibitionat Kensington Palac which explored themes of attraction, intimacy and revelation in relation to historical traditions in drawing and values in contermporary fine art drawing practice.

Explicit aims of this work are: identifying shared practice around mutual concerns with 'delicacy'; developing new studio methods; and generating forms of documentation that facilitate understanding of studio methodologies to establish a transferable model for cross-discipline knowledge exchange.

This emphasis on method and documentation reflects a further research interest in finding ways to discuss, understand and share knowledge of artists' studio methodologies.

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