Kyra Connolly is a ceramic artist with a background in architecture and design currently based in Snowmass Village, Colorado.
For commissions and inquiries, please email studio@kyraconnolly.com
Artist Statement:
My work draws on the iconography of domestic space and objects and the conflation of the remembered and the fabricated. Working with colored clay as a medium for image-making, I playfully assemble two-dimensional compositions that merge personal musings alongside loosely familiar symbols and visual themes. Through compression of the clay, the images become increasingly distilled; colors intensify, shapes distort, and forms flatten into their simplest parts. Commonplace imagery shifts into something more pensive and abstract, bringing peripheral objects and experiences into focus. A house and a yard, a ladder casting a long shadow, a table set for two, a window left open. Across ceramic tiles, motifs recur and migrate to form an inexplicit narrative.
These vignettes borrow from an inherited imagery of campy architecture and graphics of the late twentieth century. Cues from vintage illustration, advertising, and kitsch craft traditions such as quilting and needlepoint introduce whimsy into contrived situations that feel both recognizable and subtly altered. Through repetition and variation, the images unify into a set of visual tropes that move fluidly between drawing and object-making.
For commissions and inquiries, please email studio@kyraconnolly.com
Artist Statement:
My work draws on the iconography of domestic space and objects and the conflation of the remembered and the fabricated. Working with colored clay as a medium for image-making, I playfully assemble two-dimensional compositions that merge personal musings alongside loosely familiar symbols and visual themes. Through compression of the clay, the images become increasingly distilled; colors intensify, shapes distort, and forms flatten into their simplest parts. Commonplace imagery shifts into something more pensive and abstract, bringing peripheral objects and experiences into focus. A house and a yard, a ladder casting a long shadow, a table set for two, a window left open. Across ceramic tiles, motifs recur and migrate to form an inexplicit narrative.
These vignettes borrow from an inherited imagery of campy architecture and graphics of the late twentieth century. Cues from vintage illustration, advertising, and kitsch craft traditions such as quilting and needlepoint introduce whimsy into contrived situations that feel both recognizable and subtly altered. Through repetition and variation, the images unify into a set of visual tropes that move fluidly between drawing and object-making.