CYDNEY ROSS porcelain accessories can be found at the following locations:
BELGER ARTS CENTER
2100 WALNUT STREET | KANSAS CITY MO 64108
BELGER CRANE YARD GALLERY
2011 TRACY AVENUE | KANSAS CITY MO 64108
2011 BALTIMORE AVENUE | KANSAS CITY MO 6410
KEMPER MUSEUM OF CONTEMPORARY ART
4420 WARWICK BOULEVARD | KANSAS CITY MO 64111
SAGER BRAUDIS GALLERY
1025 E. WALNUT STREET | COLUMBIA MO 65201
332 W. 63RD STREET | KANSAS CITY MO 64113
Interested in carrying my porcelain accessories in your store?
Send inquiries to cydneyraeross[at]gmail[dot]com
BIO Cydney Ross was born, raised and resides in Kansas City, Missouri. She received her BFA in ceramics from the Kansas City Art Institute. Ross took an interest to architecture as subject while traveling abroad to Kecskemét, Hungary at the International Ceramics Studio (ICS). She returned to the ICS during the summer of 2015 as an artist in residence. Sculptor and jewelry designer, Ross is the creator of her own wearable fashion line CYDNEY ROSS, featuring precision-crafted, porcelain jewelry and accessories. She is also the Gallery Coordinator for Belger Crane Yard Studios in Kansas City, Missouri where she continues her fine arts practice.
FINE ARTS STATEMENT I'm inspired by architectural structures that are being built, torn down or have faced massive destruction. The enormous sense of possibility prior to a bridge's completion with the foundation taking shape and the structural framework being put into place, stirs my curiosity. To see built environments ravaged by war makes me wonder how we got here and where we're heading in our current political-social climate. By asking questions with my work, I'm hoping to start a dialogue with viewers on how architecture shapes communities for better or worse, and what that looks like in our hometowns.
Though my building methods are calculated, there is still an amount of spontaneity that occurs throughout the making process, especially when the rules of chemistry and gravity come into play, which aids me in the depiction of the passage of time that follows all things. I use unconventional processes in ceramics, like intentionally over-firing or freezing then thawing sculptures to encourage swaying, slumping and collapsing. Examining architecture, its' relation with the earth and how it shapes cultures is my exploration of liminal spaces where the tension between creation and destruction resides.
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