When I started blogging my drawings I was working in small bound books (Moleskines), one drawing a day: bound drawings that somehow maintained a daily narrative, inseparable from their collective physical context. As time went on, the drawings became more complex and more enmeshed in an on-going thought process. They start one day and finish whenever they finish and I work in several sketchbooks at the same time, of various sizes. And the pages are now removable.
I work with internal (anatomy, a continuing fascination) and external (flux of experience and environment). And, over the last 10 years I’ve been experimenting with in-image captions, more and more in Spanish.
(Drawings are pencil, ink, watercolor, whatever on paper: various sketchbooks, going one book to the next. And the pages are now removable. All art copyright Sharon Frost, email@example.com).
Sin lugar de duda, Stephen es mi carácter de punto de vista. (Watching Barcelona play Málaga. Without a doubt, Stephen is my point-of-view character.) 5 1/2 x 11in. double page spread; watercolor, ink, whatever, on Land.Mark.
6250 de 16 de octubre, sale el 17 de octubre -- fuera de la programación. (Flight 6250 of October 16, departs October 17 -- off the schedule.) 5 1/2 x 11 in. double page spread; ink, watercolor, whatev
Recogiendo las papeletas de voto ausente. Caos: incluso la señal de salida indica el camino equivocado. (Picking up the absentee ballots. Chaos: even the exit sign points the wrong way.) 8 1/2 x 10 1/2 in. double page spread; watercolor, ink, whatever, on Moleskine cahier
grabado del vinyl: Cannonball Adderly y Bill Evans. Stephen con su cámara. (Returning from the dentist. Dr. Keeling gave us a CD recorded from vinyl: Cannonball Adderly and Bill Evans. Stephen with his camera.) 8 1/2 x 10 1/2 double page spread; watercolor, ink, whatever, on Moleskine cahier.