Frohsin has been working from live models for over two decades. She estimates that in the course of one year she draws from the figure 270 hours and a third of that time focuses on
“le geste”. Faster poses which require the model and artist to be spontaneous, improvisational and daring. Frohsin appreciates the more unconventional, even extreme, and acrobatic poses from her “muses” but also simultaneously looks for naturalistic forms as well.
Paul J. Karlstrom expresses of Frohsin’s work, “She seems intuitively to combine an interest in formal (stylistic) issues with a willingness to confront something far more difficult to capture: the essense of a unique, singular, human being…The particular never surrenders to the general”.
This exhibition emphasizes a fold and heightened play in color. The gesture drawings have a certain allure to Frohsin as she enjoys the fluidity of very fine or opaque washes and color combinations and relishes in losing the lines or integrating them as she paints. The use of white ink and the powdered pigments can create new effects that make this body of work come to life. Some of the pieces in the show are minimally worked into, remaining fresh with translucent washes and showing the white of the paper. In others, Frohsin likes to push the limit, lose, and even destroy something “finished”, only to redefine it in the process.
These new paintings have been influenced by classical music including Beethoven and also the short stories of Ernest Hemingway, Raymond Carver and Joyce Carol Oates. Frohsin’s paintings on paper are like short, colorful narratives but without the written word.