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, firstname.lastname@example.org, sharonfrost.net).
..un azulejo de Portugal, mate argentino. (The kitchen table: lamps from Andalucía, a Portuguese tile, mate from Argentina. 5 1/2 x 11 in double page spread; watercolor, ink, whatever, on Glogal Art Materials Handbook. #urbansketchers #kitahens #lamps
. En el autobús de Logroño a V-G, La Democracia de Leonard Cohen se escuchó en el sistema de sonido entre 90 minutos de música popular Española.
5 1/2 x 11 in double page spread; watercolor, ink, whatever, on Global Art Materials Handbook. (On the bus from Logroño to V-G, Leonard Cohen's Democracy was heard on the sound system amidst 90 minutes of Spanish popular music.) — con Stephen Wagner en Vitoria-Gasteiz, Pais Vasco, Spain.
Brooklyn. With mates and straw, (Preparar una presentación sobre Argentina para clase de español. Con mates y bombilla.) 5 1/2 x 11 in. double page spread; watercolor, ink, whatever, on Global Art Materials Handbook.