Visual Art

RECENT WORKS

POPPIES AND PALMS
(Propagation)
3′ x 3′ Acrylic on Canvas 2019
#6 of 6 ‘Poppy and Palm’ paintings started with a very different scarlet Poppy from sacred Mt. Damavand in Iran. (Yes, there is a story about that mountain and the artist, but first…)

 

230. [158+] ECSTATIC FLORA, FAUNA, SPIRIT  7’ 8” x 3’ 7” Acrylic on Canvas, 2011-’17

 

 

 

 

 

 

 

 

 

 

 

 

Green River Fall I- Acrylic on Canvas 2′ x 2′ 2015

ANATOMY OF A STORM-MOJAVE STORM 3- Acrylic on Watercolor Paper 1- 7.19.15

 

ANATOMY OF A STORM-MOJAVE STORM-2 ACRYLIC ON WATERCOLOR PAPER 1- 7.19.15

FLOWER WARS CONTINUED- #7
Acrylic on Canvas
14″ X 11″ Fall 2016

 

Select Image below for blow up and Caption: Plain Art #s are 2013 comprehensive Inventory– Art [#s] in brackets are the UCB/ECAI 2010 Catalog.  Negative numbers (-) indicate school work, 1973 and before.

Captions for Frost paintings and sculptures are an important element in this over all collection of stories, visual art, poetry and critical essays, since here the latent, but inextricable relationship between these expressive parts is drawn together most simply. In good Abstract Expressionist fashion, captions and titles for NEPSIS artworks [can] indicate the locale or complex of themes and thought that are the aesthetic environment in which these works operate. For instance, during a 1988 exhibit of certain of these paintings, someone—a stranger to the artist and the art—with deep background in Chinese martial arts, including the ingenious  Tai Chi forms, recognized and responded strongly to the ‘energies,’ chi, of some of these paintings. He felt his exposure to the esoteric energies of his martial arts practice provided an immediate connection to the art. He recognized the real subject matter of the so-called non-representational art as these inner qualities, states or powers. To a great degree, it is in the progress of these paintings that the artist works out the theologies and philosophies of his concern. By using art processes in addition to critical methology, a new method develops for expressing and catalyzing a broader and deeper experience of being. These captions and titles thus become directional signs for artifacts of a broader excavation.

(Due to Frost’s training under Abstract Expressionist masters, and because of Abstract Expressionist interface of religious and aesthetic methodology to develop one’s intuition and reach ineffable topics, some Abstract Expressionist tenets, ‘outing the unconsciousness,’ remain viable and a pertinent vehicle for the research and intentions of the NEPSIS FOUNDATION project. Also compare to the poems of this period by the artist, as well as Nepsis Narratives.)