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).
...con nombres de músicos que han tocado en Vitoria Gasteiz. (Sculpture in the Parque de la Florida. Wynton Marsalis and the jazz bench, by Koko Rico, with names of musicians who have played in Vitoria Gasteiz.) 8 x 12 in. double page spread; watercolor, ink, whatever, on Stillman & Birn epsilon.
5 1/2 x 7 in. double page spread; watercolor, ink. whatever, (with bleed-through) on Moleskine cahier "But inherent in the word(statue) is the idea of standing. To set a stone upright in a cleared space can be seen as the first sculptural act. Standing implies consciousness. The upright stone acquires a meaning which separates it from other stones before it is shaped into an image, a statue." William Tucker.
(His drawings and paintings have always fascinated me. There was a film showing the artist making a portrait: I;m enchanted by his mannor of construciton. It was thrilling to sketch a head along with him, just getting the feel of the building form.)
7 x 10 in. double page spread; watercolor, ink, whatever, on paper.