This is a tale of transformation. It draws its figures from a strong, very young 'nature' orientation- the spirit(s) that dwell therein- and a secular altruistic materialism pitted against Art and high Religion (revealing, at least, some of the magics and disciplines that course through those veins). Nature is reaffirmed and vast inner landscapes traversed- capitals and wilderness of the physical globe as well. Darkest darkness faced, and the most intimate lights struck.
Be careful, you too might be transformed!
-67. [5.67 Ecstasis I]: Love in the Wild-
...This is a dry point zinc plate engraving that I made in Jr. High School. My teacher, Ms. Ratzlaff-with whom I was deeply infatuated-entered this print in a state wide student competition. It won a gold key and blue ribbon. This image is 3" x 4", 1962.
Compare with [#158], a conclusive work at the end of this collection of Frost's paintings.
In addition to the core of Nepsis art, this current selection suggests the larger ambiance or environment in which the core, numbered above, lives and breaths.
-11 [13.4] Landscape IV
Lightfullness of Natural Places/Processes-View from the 'window of my adolescence' (i.e. my bedroom window with view across our canyon to that row of trees)-with
-13? [5k] “Psyche of Nature/Dragon Rises/Inner Landscape”
... for me the dragon is Nature. Here the Deer, (FROM "THE DRAGON AND THE DEER" 2016, PAINTING #273) sacralized over thousands of years of providing for humans and others... is coming out of the Dragon. The deer- deified in Mexico, MAZATL, as a symbol of 'the quest' is the object of the Divine Hunt- like the quest for the Holy Grail when we first met in E. Turkey so long ago. A complex story and mix of symbols- but not so much, since you know the NEPSIS story, and this all is very real for this Holy Lander+). 01.13.17
Slowly, an unusual perspective about human perception and activities developed and is presented, 30 years later, in this work, c 2005.
Then, I landed in a monastery and that opened whole new worlds of meaning and possibility by knowing what our ancestors had accomplished relative to the 'inner world' of the psyche and animating metaphysical exercise.
Painting #8 is early in a series of many works that stretches over several years. The main formal elements here are amorphic color and space in counterpoint relationship with hardedge, linear and geometric embellishments. It is about the relationship between the general context of being and specific experience as open and luminous. This subject might also be likened to the Sipahpuni (Hopi), the point of emergence from mythic underworlds as well as the physical and psychic womb, to levels of increasing realization. Thus, this painting indicates secondly, a poignant moment of transition in physical and personal evolution guided by what I might have called back then, the Dragon Lord, i.e., a salvific, catalytic function of Spirit in Nature; God, if you like, or Grace. (I skirt here the word, "destiny", purposely because of its static, fatalistic implication.) Generally, in Frost's work, 'Dragon' refers to the psyche of Nature or just Nature. It is not a scriptural reference.
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.
"Frost's work is like choirs singing one to another, it's Chant and Mozart at once... Certain collections of various of the paintings create a resonance in their space beyond the norm of art exhibitions. What we see here is art that operates under both an aesthetic valence but as well, these are religious objects --icons and bits of mandalic vision like shards of a Rose Window..." Dr. L. Lancaster UC/ECAI, Berkeley, CA
(Dragon Painting II)
16 [13.33] Ideas About Pyramids And The Trinity
Oil Pastel on Paper 30” x 22” 1973.
In Human Perception--Self, Environment, Absolute! From Egyptian Creation Mythology, the Mountain of Being rises from Primordial Chaos- Consider Egyptian Pyramids in this regard. See Paintings 148-156 [114-128] and RESOLUTION from the NEPSIS.COM SITE MAP. Also, consider Vedic and Christian Theophany.
Homage to Beamish
Oil on Panel 3' x 5' 197?
Alice Beamish helped me in college, was my second great art teacher, took me into the world of Abstract Expressionism (just as it was dying), introduced me to a Benedictine monastery where I was baptized into the 'Way of Life,' i.e., Religion. This painting was painted in homage to the same theme in Beamish's work. She died screaming in a contemplative convent in the Hollywood Hills, California-- Perhaps convent life being too different from the Art world and/or cancer too painful. A great friend. A great teacher.