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).
Ghostbusters occupa muchas pantallas. El espocio por cada asiento es imposiblemente pequeña. Pagamos más por más espacio para las piernas larguísimas de mi esposo, pero no. Iberia ha lo hecho antes --más que una vez. Volar es un mal necesario, pero no menos mal por eso. (Ghostbusters is on many screens. The space for each seat is impossibly small. We paid extra for more space, for the very long legs of my husband. But no. Iberia has done this before -- and more than once. Flying is a necessary evil, but no less evil because it's necessary.) 5 1/2 x 11 in. double page spread; watercolor, ink, whatever, on Landmark.
...Un clásico, con cabellos preadolescentes. Un empate. (Watching Barcelona play Real Madrid, a Classico, with preadolescent heads of hair. A tie.) 5 1/2 x 11 in. double page spread; watercolor, ink, whatever on Landmark paper.
...con nuestros amigos Alejandra y Antonio. Ahora estoy dibulando los carapachos. (Two weeks ago we ate spiny sea snails in the Plaza de Mina. Today I'm drawing the shells.) 8 x 12 double page spread; watercolor, ink, whatever, on Stillman & Birn Epsilon.