Mark Sheldon Ross was born in Scotland (though he has dual Anglo-American citizenship) in 1961. He graduated from Goldsmiths College, London with a MFA (Sculpture, Philosophy) in 1983. He then managed to attend the Royal College of Art Film School to assist in the production of the historical film 1686 (Scottish drama).
After art college, he sets up in 1987 Mark Ross Furniture, a design and consultancy facility aimed at promoting a wider understanding and uptake of the grammar of contemporary art by film, television and advertising companies.
It was during that period (1986-1991) that Sheldon Ross met and developed a friendship with Ian Hamilton Finley – a Scottish artist. Widely held to be a recluse and difficult artist to work with, Finlay was sufficiently impressed by the fact that Sheldon Ross had walked most of the distance between Edinburg and Little Sparta that he invited Sheldon Ross to visit. Their relationship culminated in a series of collaborative works, most notably the Stile series. Sheldon Ross assisted Finlay and his architectural partner Alexandre Chemetoff in their attempts to overthrow the controversial cancellation of Un Jardin Révolutionnaire (Hôtel des Menus Plaisirs, Versailles) project, commissioned by the French government to commemorate the French Revolution and the Human Rights declaration (1789-1989).
Having obtained in 1991 a travel grant from ACE with the support of Delphina Studio Trust, Sheldon Ross moved to Spain to make a series of works in Andalucía (sharing the Delphina Studio Trust residency with Tracey Emin and others). He eventually settled for a few years at the remote farm Los Molinos belonging to Rebecca Norris Fowler (the grand daughter-in-law of US Senator and explorer Hiram Bingham III) further developing his sculpture practice and exhibiting in Southern Spain and Madrid (Galería Magda Bellotti).
Sheldon Ross returned to the UK in 1995 to re-establish his studio in London at the newly occupied Burbridge House, which became shared with artists Sarah Lucas, Angus Fairhurst and the emerging art collective BANK. This time proved to be witness to the emergence of the Young British Artists phenomena, spearheaded by his contemporaries at Goldsmiths College. He found himself at the centre of a rapidly changing art world, which gave rise to a re-modelled cultural landscape stimulated by new independent players and spaces such as White Cube gallery / Jay Jopling, Interim Art / Maureen Paley and Joshua Compston‘s Factual Nonsense. Sheldon Ross worked with many of these organisations as artist, consultant, fabricator and project manager. He participated in a number of exhibitions including The Fete Worse than Death by Compston and 55 Gee Street with David Medalla / The Mondrian Fan Club.
In 2008, Sheldon Ross founded an artist space by converting a former supermarket at 143 Mare Street, London, which provided a research and development facility for artists and writers. The Mare Street Biennale (2008, 2010) emerged from this experimental space. He is also the founding director of the innovative community art project Feltrooms, which has been described as the first self-catering museum. Feltrooms worked with strategic partners including the Mayor of London during the Olympiad period as part of the London & Partners initiative. Feltrooms is an artist-led self-funded organisation. In 2013 he was appointed Director of Installations for The Cornelius Foundation, which seeks to understand the link between an artistic experience and human welfare.
In 2014, Sheldon Ross established his studio in Sandwich, Kent.