Week 59: Wednesday 19th February [13:00-15:00]
= Audience Development Presentations w. Marsha
Independent Study
Tasks:
- If you have not already – begin engaging with the community or audience that your project connects with; consider the mode of communication: what are you asking? how are you asking it? and what types of information does it generate?; prepare a short account of this primary research (e.g. 2-4 slide .PPT / .PDF doc) to share in class.
- Upload the presentation file to this folder [here].
Read + Watch + Listen + Prepare:
- Tbc, see below.
Live Sessions
In today’s session we will begin by checking in on your progress, specifically regarding the audiences your project connects with and any outreach you have conducted to inform your planning. Please prepare a 2-4 slide presentation on the primary research you have conducted to date. This should accurately explain who your public / audience / collaborators are and give us an insight into how their needs and knowledge are influencing your project.
Everyone will have the opportunity to present their presentation and to receive peer-to-peer feedback. We will take this opportunity to ensure you have fully considered how your project meets a public and how the respond of that public will fold back into your ongoing creative practice.
Finally, we will set aside some time to discuss any immediate challenges you are struggling with. At this stage some of your will have begun project delivery, whilst others may be beginning that process imminently.
AT CSM :
INTERVIEW PPL ON
THE STREET
PHILIP:HEAD OF SECURITY
ESTATESHELPDESK2ARTSAC.UK
——
1. Project Description & Framing
When describing the project (whether in proposals, social media, or conversations), you can highlight:
- How London’s cultural diversity contrasts with Cyprus’s more close-knit cultural environment.
- The different ways people express identity and belonging in both places.
- How people’s experiences of connection and self-expression change based on their environment.
- The role of migration, heritage, and cultural hybridity in shaping perspectives.
For example, instead of just saying:
“I interview strangers and draw them as they share their thoughts.”
You could say:
“Through live street drawings and spontaneous conversations, I explore how cultural backgrounds shape the way people express themselves. By comparing the experiences of individuals in London and Cyprus, the project reveals patterns of intercultural connection, personal identity, and belonging.”
2. Interview Questions (to Guide Conversations Toward Interculturality)
Since you’re balancing openness with structure, you can use open-ended but culturally focused questions, such as:
- Where do you feel most at home, and why?
- Do you think your cultural background influences how you express yourself? How?
- How does London (or Cyprus) shape your sense of belonging?
- What’s something about your culture that you wish more people understood?
- Do you feel more like an insider or outsider in this city? Why?
- How do people connect with each other differently here compared to where you grew up?
This way, the conversations naturally bring out cultural contrasts and similarities without feeling forced.
3. Social Media & Presentation Angle
- Pair the Drawings with Key Quotes – When posting, highlight statements that reveal cultural differences or shared emotions.
- Use a Split-Screen Format for Comparison – If you eventually interview people in Cyprus too, you can show responses side by side to visually compare perspectives.
- Ask Your Audience – Engage viewers by asking them how they relate to the topic of cultural identity and belonging.
—– AUDIENCE—–
Live Audience
-University Students
Since the interviews take place on campus, most participants will be students. (University settings foster open discussions, making students more likely to engage in the process).
-Passersby
People on campus who are open to spontaneous interaction. They might be curious, in need of self-expression, or just enjoy the idea of being sketched.
-People Seeking Connection
Those who appreciate being listened to and having their thoughts or emotions acknowledged.
-Fine art students/ staff
Individuals who are drawn to the visual aspect of live drawing and the creative process.
Online Audience
-People interested in human stories
Viewers who engage with raw, personal narratives and psychological insights.
-Artists and illustrators
Those who appreciate the fusion of art and social interaction.
-People interested in public Engagement and social experiments
Individuals fascinated by projects that explore human behavior, emotions and public participation.
-Cultural & Social commentary enthusiasts
Those who enjoy discussions about identity, positionality, culture and lived experience.
-Art Students & Recent Graduates
Since the project features students, it will likely resonate with other students or recent graduates who relate to way of thinking/ social/ age group.
(no title) – JUGAADOPOLIS
A post from jugaadopolis on JUGAADOPOLIS provided by: https://jugaadopolis.com
I would add that by doing portraiture in a live location you have an accidental audience who encounter the work and opt to engage or not
You become a spectacle
You mentioned you don’t use TikTok a lot, so there’s a question here about your existing reach and whether you can look at any existing analytics to assess this already?
Meli
- Technically, our university is not a public space. However, we assume it is. – See privately owned public open space (POPOS)
- You must look at https://www.unrefugees.org.uk/esdevlin-congregation/ – this Es Devlin project
- Look at people who draw/paint their sitters over and over; this is a fascinating approach to practice.
- How does doing these portraits in higher education inflect the project?
Congregation | Es Devlin | UK for UNHCR
This October, Es Devlin will unveil Congregation, in partnership with UK for UNHCR, The Courtauld and King’s College, London.
Meli – have you done the induction for the loan store?
And the intercultural properties of YOUR practice? How are you advancing the field?
ual- international space
(no title) – JUGAADOPOLIS
A post from jugaadopolis on JUGAADOPOLIS provided by: https://jugaadopolis.com
I would add that by doing portraiture in a live location you have an accidental audience who encounter the work and opt to engage or not
You become a spectacle
You mentioned you don’t use TikTok a lot, so there’s a question here about your existing reach and whether you can look at any existing analytics to assess this already?
Meli
- Technically, our university is not a public space. However, we assume it is. – See privately owned public open space (POPOS)
- You must look at https://www.unrefugees.org.uk/esdevlin-congregation/ – this Es Devlin project
- Look at people who draw/paint their sitters over and over; this is a fascinating approach to practice.
- How does doing these portraits in higher education inflect the project?
Congregation | Es Devlin | UK for UNHCR
This October, Es Devlin will unveil Congregation, in partnership with UK for UNHCR, The Courtauld and King’s College, London.
Meli – have you done the induction for the loan store?
And the intercultural properties of YOUR practice? How are you advancing the field?
Meli – have you done the induction for the loan store?
And the intercultural properties of YOUR practice? How are you advancing the field?
We’re all intercultural! It’s your job – everyone – to uncork this and effectively resource this.