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).
The heart is a moving target: en un dibujo puede ser una abstracción rítmica. (...in a drawing it can be a rhythmic abstraction. 5.8 x 8.3 in.; watercolor, ink, whatever, on Canson Imagine paper.
Una enorme bomba fue lanzada sobre Afganistán: "la madre de todas las bombas". (An enormous bomb was dropped on Afganistan: "the mother of all bombs.) 5 1/2 x 11 in. double page spread; watercolor, ink, whatever, on Global Art Materials Handbook.
El viaje a yoga: concentración en la pelvis. (The trip to yoga: concentration on the pelvis.) 8 1/4 x 10 1/4 double page spread; watercolor, ink, whatever, in Moleskine cahier.
Watching soccer (Barcelona at Málaga) with Stephen at 71 Ocean Parkway,, Brooklyn. (Estudio portátil. Autoretrato. Mirando fútbol, Barcelona a Málaga, con Stephen.) 5.8 x 8.3 in.; watercolor, ink, whatever, on Canson Imagine paper.
American Airlines, Vuelo 1003 de Tucson a NY/JFK. (Self portrait with red shoes.) 5 1/2 x 11 in. double page spread; watercolor, ink, whatever, on Global Art Materials Handbook.