RECENT WORKS
328. 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…)
Hoarfrost Series of 10- 20″ x 16″ -Plus the innumerable Mini Hoarfrost Series- Variously Arranged: Mica in emmulsion/Acrylic on canvas- 2020
230. [158+] ECSTATIC FLORA, FAUNA, SPIRIT
7’ 8” x 3’ 7” Acrylic on Canvas, 2011-’17
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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.)
More Space
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Nude
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Macros I
Macros I
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Two Become One
TWO-III (Magic / Upsidedown)
TWO-IV RISING
TWO. RISING STILL
Two Become One
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![FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. About 100 Paintings and Drawings. SEE ESP. CAPTIONS #8 & 9 [6 & 7]. THESE CAPTIONS HOLD FOR MOST THIS FIRST SERIES. Though these 100+ art works (including variations and latter-day throwbacks, etc.) depend upon a counter point between large, amorphic color forms and space with hard edge, geometric embellishments, the over all collection starts with snowscapes and small landscapes. Soon jet trails impressed the artist and thus begins this series that followed several years of nature and life studies.](https://i2.wp.com/wp.nepsis.com/wp-content/uploads/art/after-bolivia/10-8-ariel-vision.jpg?w=243&h=177 "10 [8] Ariel Vision")
FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. About 100 Paintings and Drawings. SEE ESP. CAPTIONS #8 & 9 [6 & 7]. THESE CAPTIONS HOLD FOR MOST THIS FIRST SERIES. Though these 100+ art works (including variations and latter-day throwbacks, etc.) depend upon a counter point between large, amorphic color forms and space with hard edge, geometric embellishments, the over all collection starts with snowscapes and small landscapes. Soon jet trails impressed the artist and thus begins this series that followed several years of nature and life studies.
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Snowscape
Snowscape
Snowscape II
Snowscape
Landscape Alfalfa Field
Landscape Sunset
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Horses
![Untitled Turpentine Wash on Cut Paper < 30" 1974. FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. About 100 Paintings and Drawings. SEE ESP. CAPTIONS #8 & 9 [6 & 7]. THESE CAPTIONS HOLD FOR MOST THIS FIRST SERIES. Though these 100+ art works (including variations and latter-day throwbacks, etc.) depend upon a counter point between large, amorphic color forms and space with hard edge, geometric embellishments, the over all collection starts with snowscapes and small landscapes. Soon jet trails impressed the artist and thus begins this series that followed several years of nature and life studies.](https://i2.wp.com/wp.nepsis.com/wp-content/uploads/2013/11/67.jpg?w=462&h=330 "67")
Untitled Turpentine Wash on Cut Paper < 30" 1974. FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. About 100 Paintings and Drawings. SEE ESP. CAPTIONS #8 & 9 [6 & 7]. THESE CAPTIONS HOLD FOR MOST THIS FIRST SERIES. Though these 100+ art works (including variations and latter-day throwbacks, etc.) depend upon a counter point between large, amorphic color forms and space with hard edge, geometric embellishments, the over all collection starts with snowscapes and small landscapes. Soon jet trails impressed the artist and thus begins this series that followed several years of nature and life studies.
Totem
Aquafirs
![Untitled Turpentine Wash on Cut Paper < 30" 1974. FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. About 100 Paintings and Drawings. SEE ESP. CAPTIONS #8 & 9 [6 & 7]. THESE CAPTIONS HOLD FOR MOST THIS FIRST SERIES.... FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. Though these 100+ art works (including variations and latter-day throwbacks, etc.) depend upon a counter point between large, amorphic color forms and space with hard edge, geometric embellishments, the over all collection starts with snowscapes and small landscapes. Soon jet trails impressed the artist and thus begins this series that followed several years of nature and life studies.](https://i2.wp.com/wp.nepsis.com/wp-content/uploads/2013/11/68.jpg?w=248&h=142 "68")
Untitled Turpentine Wash on Cut Paper < 30" 1974. FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. About 100 Paintings and Drawings. SEE ESP. CAPTIONS #8 & 9 [6 & 7]. THESE CAPTIONS HOLD FOR MOST THIS FIRST SERIES.... FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. Though these 100+ art works (including variations and latter-day throwbacks, etc.) depend upon a counter point between large, amorphic color forms and space with hard edge, geometric embellishments, the over all collection starts with snowscapes and small landscapes. Soon jet trails impressed the artist and thus begins this series that followed several years of nature and life studies.
![Untitled Turpentine Wash on Cut Paper < 30" 1974. FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. About 100 Paintings and Drawings. SEE ESP. CAPTIONS #8 & 9 [6 & 7]. THESE CAPTIONS HOLD FOR MOST THIS FIRST SERIES.... FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. Though these 100+ art works (including variations and latter-day throwbacks, etc.) depend upon a counter point between large, amorphic color forms and space with hard edge, geometric embellishments, the over all collection starts with snowscapes and small landscapes. Soon jet trails impressed the artist and thus begins this series that followed several years of nature and life studies.](https://i0.wp.com/wp.nepsis.com/wp-content/uploads/2013/11/69.jpg?w=248&h=211 "69")
Untitled Turpentine Wash on Cut Paper < 30" 1974. FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. About 100 Paintings and Drawings. SEE ESP. CAPTIONS #8 & 9 [6 & 7]. THESE CAPTIONS HOLD FOR MOST THIS FIRST SERIES.... FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. Though these 100+ art works (including variations and latter-day throwbacks, etc.) depend upon a counter point between large, amorphic color forms and space with hard edge, geometric embellishments, the over all collection starts with snowscapes and small landscapes. Soon jet trails impressed the artist and thus begins this series that followed several years of nature and life studies.
![Untitled Turpentine Wash on Cut Paper < 30" 1974. FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. About 100 Paintings and Drawings. SEE ESP. CAPTIONS #8 & 9 [6 & 7]. THESE CAPTIONS HOLD FOR MOST THIS FIRST SERIES.... FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. Though these 100+ art works (including variations and latter-day throwbacks, etc.) depend upon a counter point between large, amorphic color forms and space with hard edge, geometric embellishments, the over all collection starts with snowscapes and small landscapes. Soon jet trails impressed the artist and thus begins this series that followed several years of nature and life studies.](https://i2.wp.com/wp.nepsis.com/wp-content/uploads/2013/11/63.jpg?w=248&h=233 "63")
Untitled Turpentine Wash on Cut Paper < 30" 1974. FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. About 100 Paintings and Drawings. SEE ESP. CAPTIONS #8 & 9 [6 & 7]. THESE CAPTIONS HOLD FOR MOST THIS FIRST SERIES.... FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. Though these 100+ art works (including variations and latter-day throwbacks, etc.) depend upon a counter point between large, amorphic color forms and space with hard edge, geometric embellishments, the over all collection starts with snowscapes and small landscapes. Soon jet trails impressed the artist and thus begins this series that followed several years of nature and life studies.
![Untitled Turpentine Wash on Cut Paper < 30" 1974. FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. About 100 Paintings and Drawings. SEE ESP. CAPTIONS #8 & 9 [6 & 7]. THESE CAPTIONS HOLD FOR MOST THIS FIRST SERIES.... FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. Though these 100+ art works (including variations and latter-day throwbacks, etc.) depend upon a counter point between large, amorphic color forms and space with hard edge, geometric embellishments, the over all collection starts with snowscapes and small landscapes. Soon jet trails impressed the artist and thus begins this series that followed several years of nature and life studies.](https://i2.wp.com/wp.nepsis.com/wp-content/uploads/2013/11/64.jpg?w=170&h=407 "64")
Untitled Turpentine Wash on Cut Paper < 30" 1974. FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. About 100 Paintings and Drawings. SEE ESP. CAPTIONS #8 & 9 [6 & 7]. THESE CAPTIONS HOLD FOR MOST THIS FIRST SERIES.... FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. Though these 100+ art works (including variations and latter-day throwbacks, etc.) depend upon a counter point between large, amorphic color forms and space with hard edge, geometric embellishments, the over all collection starts with snowscapes and small landscapes. Soon jet trails impressed the artist and thus begins this series that followed several years of nature and life studies.
![Untitled Turpentine Wash on Cut Paper < 30" 1974. FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. About 100 Paintings and Drawings. SEE ESP. CAPTIONS #8 & 9 [6 & 7]. THESE CAPTIONS HOLD FOR MOST THIS FIRST SERIES.... FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. Though these 100+ art works (including variations and latter-day throwbacks, etc.) depend upon a counter point between large, amorphic color forms and space with hard edge, geometric embellishments, the over all collection starts with snowscapes and small landscapes. Soon jet trails impressed the artist and thus begins this series that followed several years of nature and life studies.](https://i2.wp.com/wp.nepsis.com/wp-content/uploads/2013/11/66.jpg?w=542&h=407 "66")
Untitled Turpentine Wash on Cut Paper < 30" 1974. FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. About 100 Paintings and Drawings. SEE ESP. CAPTIONS #8 & 9 [6 & 7]. THESE CAPTIONS HOLD FOR MOST THIS FIRST SERIES.... FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. Though these 100+ art works (including variations and latter-day throwbacks, etc.) depend upon a counter point between large, amorphic color forms and space with hard edge, geometric embellishments, the over all collection starts with snowscapes and small landscapes. Soon jet trails impressed the artist and thus begins this series that followed several years of nature and life studies.
![Untitled Turpentine Wash on Cut Paper < 30" 1974. FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. About 100 Paintings and Drawings. SEE ESP. CAPTIONS #8 & 9 [6 & 7]. THESE CAPTIONS HOLD FOR MOST THIS FIRST SERIES.... FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. Though these 100+ art works (including variations and latter-day throwbacks, etc.) depend upon a counter point between large, amorphic color forms and space with hard edge, geometric embellishments, the over all collection starts with snowscapes and small landscapes. Soon jet trails impressed the artist and thus begins this series that followed several years of nature and life studies.](https://i2.wp.com/wp.nepsis.com/wp-content/uploads/2013/11/65.jpg?w=716&h=300 "65")
Untitled Turpentine Wash on Cut Paper < 30" 1974. FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. About 100 Paintings and Drawings. SEE ESP. CAPTIONS #8 & 9 [6 & 7]. THESE CAPTIONS HOLD FOR MOST THIS FIRST SERIES.... FIRST SERIES: SAN FRANCISQUITO CANYON, S. CALIFORNIA. Though these 100+ art works (including variations and latter-day throwbacks, etc.) depend upon a counter point between large, amorphic color forms and space with hard edge, geometric embellishments, the over all collection starts with snowscapes and small landscapes. Soon jet trails impressed the artist and thus begins this series that followed several years of nature and life studies.
Turpentine Wash on Cut Paper < 30" 1974. Amorphic color and space in counterpoint relationship with hardedge, linear and geometric embellishments.
Turpentine Wash on Cut Paper 17” x 11.5” 1974. Amorphic color and space in counterpoint relationship with hardedge, linear and geometric embellishments.
Turpentine Wash on Cut Paper < 30" 1974. Amorphic color and space in counterpoint relationship with hardedge, linear and geometric embellishments.
Turpentine Wash on Cut Paper < 26" 1974. Amorphic color and space in counterpoint relationship with hardedge, linear and geometric embellishments.
Untitled
Turpentine Wash and Oil Pastel < 30” ‘73-’86
Turpentine Wash and Oil Pastel on Paper 24” x 18” 1986
Turpentine Wash, Pencil and Oil Pastel on Paper < 18” 1985
Untitled
(Unnumbered part of First Series #1 thru 77+)
Mount Olympus- See also #s 94, 96, 131, 148.
!['Theopoeisis' A New Innocence! An icon of ritual intent, follows #105[93] consecrated at the 1985 Easter Vigil for that church with spiritual root in Cuernavaca drawings (and Mexico City earthquake!) that leads, 7 paintings of the same theme and 15 years later, to this image- A consideration of the possibility, the 'indwelling' of the Holy Spirit- The Holy Land within. Thus, the pilgrim way of the Holy Lander!](https://i0.wp.com/wp.nepsis.com/wp-content/uploads/2013/11/165f-94f-who-told-you-you-were-naked-detail.jpg?w=224&h=329 "165f [94f] Who Told You You Were Naked? (Detail)")
‘Theopoeisis’ A New Innocence! An icon of ritual intent, follows #105[93] consecrated at the 1985 Easter Vigil for that church with spiritual root in Cuernavaca drawings (and Mexico City earthquake!) that leads, 7 paintings of the same theme and 15 years later, to this image- A consideration of the possibility, the ‘indwelling’ of the Holy Spirit- The Holy Land within. Thus, the pilgrim way of the Holy Lander!
Who Told You You Were Naked? (Detail)
!['Theopoeisis' A New Innocence! An icon of ritual intent, follows #105[93] consecrated at the 1985 Easter Vigil for that church with spiritual root in Cuernavaca drawings (and Mexico City earthquake!) that leads, 7 paintings of the same theme and 15 years later, to this image- A consideration of the possibility, the 'indwelling' of the Holy Spirit- The Holy Land within. Thus, the pilgrim way of the Holy Lander!](https://i1.wp.com/wp.nepsis.com/wp-content/uploads/2013/11/165c-94c-who-told-you-you-were-naked-detail.jpg?w=445&h=689 "165c [94c] Who Told You You Were Naked? (Detail)")
‘Theopoeisis’ A New Innocence! An icon of ritual intent, follows #105[93] consecrated at the 1985 Easter Vigil for that church with spiritual root in Cuernavaca drawings (and Mexico City earthquake!) that leads, 7 paintings of the same theme and 15 years later, to this image- A consideration of the possibility, the ‘indwelling’ of the Holy Spirit- The Holy Land within. Thus, the pilgrim way of the Holy Lander!
![Oil on Canvas 12’ x 8’ 1996-99. 'Theopoeisis' A New Innocence! An icon of ritual intent, follows #105[93] consecrated at the 1985 Easter Vigil for that church with spiritual root in Cuernavaca drawings (and Mexico City earthquake!) that leads, 7 paintings of the same theme and 15 years later, to this image- A consideration of the possibility, the 'indwelling' of the Holy Spirit- The Holy Land within. Thus, the pilgrim way of the Holy Lander!](https://i0.wp.com/wp.nepsis.com/wp-content/uploads/2013/11/16494-who-told-you-you-were-naked.jpg?w=503&h=314 "164[94] \"Who Told You You Were Naked?\"")
Oil on Canvas 12’ x 8’ 1996-99. ‘Theopoeisis’ A New Innocence! An icon of ritual intent, follows #105[93] consecrated at the 1985 Easter Vigil for that church with spiritual root in Cuernavaca drawings (and Mexico City earthquake!) that leads, 7 paintings of the same theme and 15 years later, to this image- A consideration of the possibility, the ‘indwelling’ of the Holy Spirit- The Holy Land within. Thus, the pilgrim way of the Holy Lander!
Oil on Canvas 34” x 24” ‘96-’99
c. #175. Extra Agenda
c. #177. Extra Agenda
Paper Mache over wire core including ‘found elements’ of ‘presence’ found in Huachuca, AZ during our four-year sojourn there. Like the paintings, this ‘object’ carries the energies of that place and intentions…
Within the Sacred Precinct I
Oil on Panel < 44” ‘90-’09.
Birds A’nesting—Muladhara III
Birds A’nesting—Muladhara II
Changing Woman
Flower Wars I
Flower Wars II
Flower Wars III
Secrets of the Golden Flower I
Secrets of the Golden Flower II
Secrets of the Golden Flower III
Secrets of the Golden Flower IV
Secrets of the Golden Flower V
Secrets of the Golden Flower VII
San Francisquito Canyon- where I was raised- something of its spirit
Home by the Sea 1 (Elephant Spirit Friend)
Home by the Sea 2
Home by the Sea 3
Dana Point 5
Dana Point Pyre
Dana Point Mischief (Lightfulness and the Muladhara)
Dana Point 7
Dana Point 8
Dana Point 9
1975 water color 18″ x 12″ Crucifix
![Mazatl Saves '89. Mixed media. Heavily textured. 40" x 30" 1988-89. One of five painted references to the salvific Deer Deity- four of which images inserted themselves in Frost's painting process. See also #187[118]--189[120]. Compare to Horus Paintings #212[142] A &B. Both Salvific deities.](https://i2.wp.com/wp.nepsis.com/wp-content/uploads/FullSizeRender-2-e1429027162749.jpg?w=163&h=226 "Mazatl Saves '89")
Mazatl Saves ’89. Mixed media. Heavily textured. 40″ x 30″ 1988-89. One of five painted references to the salvific Deer Deity- four of which images inserted themselves in Frost’s painting process. See also #187[118]–189[120]. Compare to Horus Paintings #212[142] A &B. Both Salvific deities.
Acrylic on Canvas 2′ x 2′ 2015
Acrylic on Canvas 2′ x 2′ 2015
Acrylic on Canvas 2′ x 2′ 2015
Acrylic on Canvas- 14″ x 11″- 2017 A reflection on strategies for survival in nature… Also see Aztec “Flower Wars”
Acrylic on Canvas- 14″ x 11″- 2017 A reflection on strategies for survival in nature… Also see Aztec “Flower Wars”
Acrylic on Canvas- 60″ X 50″-01.2017
Acrylic on Canvas-11″ X 14″ -2017
Acrylic on Canvas-12″ X 12″ -2017
Acrylic on Canvas- 14″ x 11″- Winter/Spring 2017
Acrylic on Canvas- 12″ x 12″- Winter/Spring 2017
Acrylic on Canvas-11″ X 14″ 2017
Acrylic on Canvas- 14″ x 11″- Winter/Spring 2017
Acrylic on Canvas- 48″ X 36″ – Winter/Spring 2017
Oil and Acrylic on Canvas 90”x150” 7’8” x 3’ 7” 2011-17
304. New Series Spring 2018- Triptych #3.
Oil on Canvas 5.5′ x 3′ 1977- Iconic figures take the place of Geometric Embellishments characteristic of First Series- #8-77+.
Secrets of the Golden Flower VI
Acrylic on Canvas- 60″ x 50″ 2017
![-2 [2] Distant Horizon/Distant Vision II](https://i1.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/2-2-distant-horizondistant-vision-ii.jpg?w=479&h=357 "-2 [2] Distant Horizon/Distant Vision II")
![-4 [4.] Distant Horizon/Distant Vision IV](https://i2.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/4-4-distant-horizondistant-vision-iv.jpg?w=233&h=182 "-4 [4.] Distant Horizon/Distant Vision IV")
![-6 [5.63] Transitional Landscapes](https://i0.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/6-5-63-transitional-landscapes.jpg?w=233&h=171 "-6 [5.63] Transitional Landscapes")
![-7 [5.64a] Transitional Landscapes](https://i1.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/7-5-64a-transitional-landscapes.jpg?w=241&h=182 "-7 [5.64a] Transitional Landscapes")
![-9 [13.2] Transitional Landscapes](https://i2.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/9-13-2-transitional-landscapes.jpg?w=241&h=163 "-9 [13.2] Transitional Landscapes")
![-12 [13.5] Transitional Landscapes](https://i1.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/12-13-5-transitional-landscapes.jpg?w=471&h=349 "-12 [13.5] Transitional Landscapes")
![-22 [5b] Bridge to Who](https://i2.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/22-5b-bridge-to-who.jpg?w=414&h=228 "-22 [5b] Bridge to Who")
![-23 [5.26] Bird](https://i0.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/23-5-26-bird.jpg?w=298&h=228 "-23 [5.26] Bird")
![-27 [5.32] The Scourge](https://i0.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/27-5-32-the-scourge.jpg?w=425&h=657 "-27 [5.32] The Scourge")
![-28 [5.36] [5f] Nude](https://i2.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/28-5-36-5f-nude.jpg?w=168&h=224 "-28 [5.36] [5f] Nude")
![29 [5.37] Nude Sinking](https://i2.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/29-5-37-nude-sinking.jpg?w=174&h=224 "29 [5.37] Nude Sinking")
![-30 [5.38] Nude Down](https://i0.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/30-5-38-nude-down.jpg?w=171&h=224 "-30 [5.38] Nude Down")
![-31 [5.39] Sleeping](https://i2.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/31-5-39-sleeping.jpg?w=191&h=224 "-31 [5.39] Sleeping")
![-32 [5g] Not Nude](https://i0.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/32-5g-not-nude.jpg?w=253&h=306 "-32 [5g] Not Nude")
![-33 [5.41] They Won, But Only They Think So-I Believed Them Briefly](https://i2.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/33-5-41-they-won-but-only-they-think-so-i-believed-them-briefly.jpg?w=230&h=306 "-33 [5.41] They Won, But Only They Think So-I Believed Them Briefly")
![-36 [5.46] Nude](https://i1.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/36-5-46-nude.jpg?w=385&h=480 "-36 [5.46] Nude")
![-67 [5.67] Ecstasis I: Love in the Wild](https://i0.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/67-5-67-ecstasis-i-love-in-the-wild.jpg?w=442&h=631 "-67 [5.67] Ecstasis I: Love in the Wild")
![-1[1] Distant Horizon/Distant Vision I](https://i2.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/11-distant-horizondistant-vision-i.jpg?w=270&h=191 "-1[1] Distant Horizon/Distant Vision I")
![-3 [3] Distant Horizon/Distant Vision III](https://i1.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/3-3-distant-horizondistant-vision-iii.jpg?w=270&h=205 "-3 [3] Distant Horizon/Distant Vision III")
![-5 [5] Horizon Met/Distant Horizon/Distant Vision V](https://i1.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/5-5-horizon-metdistant-horizondistant-vision-v.jpg?w=270&h=227 "-5 [5] Horizon Met/Distant Horizon/Distant Vision V")
![-16 [5.14] Landscape of Mind I](https://i1.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/16-5-14-landscape-of-mind-i.jpg?w=492&h=349 "-16 [5.14] Landscape of Mind I")
![-16 [5.4a] Landscape of Mind I (Detail)](https://i1.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/16-5-4a-landscape-of-mind-i-detail.jpg?w=220&h=177 "-16 [5.4a] Landscape of Mind I (Detail)")
![-17 [5.16] Landscape Mind](https://i0.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/17-5-16-landscape-mind.jpg?w=220&h=168 "-17 [5.16] Landscape Mind")
![-18a [5.21b] Nightstream II](https://i0.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/18a-5-21b-nightstream-ii.jpg?w=234&h=359 "-18a [5.21b] Nightstream II")
![-19 [5.23] Icarus Descending](https://i0.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/19-5-23-icarus-descending.jpg?w=222&h=295 "-19 [5.23] Icarus Descending")
![-20 [5.24] Icarus Through The Clouds](https://i2.wp.com/wp.nepsis.com/wp-content/uploads/art/before-bolivia/20-5-24-icarus-through-the-clouds.jpg?w=244&h=295 "-20 [5.24] Icarus Through The Clouds")
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