Puedo ver la Alameda Apodaca desde nuestra ventana si extiendo la cabeza y además estiro el cuello. Cádiz. 24 de octubre, 2014.

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 protected], sharonfrost.net).

Sharon Frost

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My Work and Its Context.

Sketchbooks on Flickr.
Urban Sketchers
Sharon's photos on Flickr.
Manifest Magazine Number 8.
I'm featured (and interviewed) in this issue.
My image store.
Sketching the line. Toronto.
I was included in this exhibition, Spring 2014.

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October 26, 2014

Puedo ver la Alameda Apodaca desde nuestra ventana si extiendo la cabeza y además estiro el cuello. Cádiz. 24 de octubre, 2014.

(I can see the Alameda Apodaca from our window if I stick my head out the window and crane my neck.)
7 x 14 in. double page spread; ink, watercolor, whatever, on Stillman & Birn Zeta.

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Day Books of Sharon Frost, turning the page.

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October 26, 2014

Puedo ver la Alameda Apodaca desde nuestra ventana si extiendo la cabeza y además estiro el cuello. Cádiz. 24 de octubre, 2014.

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