“Kim Frohsin draws with absolute authority, every line precisely what it should be. She elevates drawing to a level of expressive accomplishment. In this, she is among the relatively few legitimate heirs of the Bay Area Figurative School. Among her predecessors are
Richard Diebenkorn, Elmer Bischoff, Nathan Oliveira, and Frank Lobdell, all admired for their draughtsmanship. Among the things she and her distinguished predecessors share in common is a complete control of line and form as means to construct an unmistakably individual personal world in their art.”
Former West Coast Director
Smithsonian Archive of American Art
In Kim Frohsin’s recent works on paper, she seeks to both abstract the female form and maintain the specificity and individuality of the model. Frohsin follows the Bay Area Figurative School’s tradition of abstracting the figure. However, in this series she intuitively combines an interest in formal issues with the interest in capturing the essence of a singular human being. The use of a live model is central to Frohsin’s work; it inspires her with a diversified, vital and direct collaboration. These models have worked with Frohsin extensively and have become individual sources of abstraction. Frohsin’s use of ink and ink washes facilitates the abstraction. This medium combined with organic and asymmetrical instruments provided a new freedom in her drawing process. In the Abstract: 2004-2005 is Kim Frohsin’s exploration and acknowledgement of the close relationship between representation and abstraction.