Articles and Reviews
Bibliography article icon

Bmore Art Q & A, "Spatial Ambiguity: An interview with Carol Miller Frost by Karen Fish February 16, 2022

Washington Post, "Glowing Markings and Attractive Abstraction", Mark Jenkins, April 11, 2014

Washington Post, "Carol Miller Frost's Work Shimmers" Mark Jenkins November 24, 2013

Essay, "Embodied Line" Timothy App, October 2010 for exhibition "Body Work:Recent Paintings," Stevenson University, Stevenson MD

Sarasota Herald-Tribune, "Artist Uses Space To Create Motion," Kevin Costello, June 12, 2005

The Baltimore Sun, "Season of Abstraction," Glenn McNatt, September 23, 2004

Essay, "Luminosity Of Space," Laura Burns, Gallery Director of Goucher College, Baltimore MD, January, 2000

Art Papers, "Strictly Painting II," Jan/Feb 1998

Catalog Essay, "Chance And Necessity," Power Boothe, Abstraction And Regional Diversity, Robert G. Edelman, November 1998

The Baltimore Sun, "Shared Humanity Lies at the Core,"
John Dorsey. December 1, 1998

City Paper, "Driven To Abstraction," Mike Giuliano, December 1, 1998

Gazette, "The Circle of Summer at Rockville Arts Place," Nancy Unger August 1998

The "Baltimore Sun, "Soothing Colors, Tempo Take The World Away, Geometrice" Maryland Art Place, December 5, 1997

The Baltimore Sun, "Impressions Of Goya Girl," John Dorsey, June 24, 1997

The Messenger, "Communication Breakdown," Leslie Rice, November 16, 1994

The Baltimore Sun, "Maryland Federation Art Show," John Dorsey, May 20, 1993

Evening Sun "Works of Babe Shapiro and Former Students," John Dorsey, April 5, 1990

The Baltimore Sun "Retrospective-Babe Shapiro," Mike
Giuliano, April 13, 1990

The Baltimore Sun, "Maryland On Review," John Dorsey, November 7, 1989

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Kevin Costello

Carol Miller Frost's drawings have deceptively simple formal arrangements that rely on visual acuity for the viewer to grasp their complexity.

By way of comparison, consider the nuanced arrangement of stones in a Zen Budhist garden.

Frost's exhibition "Notions About Space," a quietly sensuous, abstract series of black pastel drawings, is on display at Desiree Snyder Contemporary Art, a minimalist-inspired gallery on Sarasota's South Pineapple Avenue.

Frost's drawings confront viewers with two forms of dynamic opposition. The first is a fluctuation between the illusionistic, three dimensional space of drawings containing rectangles or circles and the two dimensional plane upon which the images are drawn.

To this, she adds a tension in the use of white space as both infinite illusionistic space and the finite paper surface.

Between these two interpretations of space, she floats here weightless forms. It is an open luminous space rather than a specific, pictorial one.

Frost is aware that, in pictorial art, the presence of an object can render a space emptier than can vacancy: Emptiness needs a reference to be envisioned as such.

Frost's essential interest is in the relationship of internal notions of space to objective ones; our perception of space and our interaction with it.

This is demonstrated in the trail of pastel left after moving one circle ever so slightly, creating a vibration that enhances the impression of both weightlessness and solidity simultaneously.

Frost's art does not deal with issues of science, but like leaves in a breeze, her drawings address the idea that all matter vibrates--and when it is perceived so, it is both a singular and universal pleasure.