by: Oona Taper on October 1st, 2015 | Comments Off
Alison OK Frost creates delicate and disturbing watercolors. Her figures seem to be part of a post apocalyptic world even though they are all drawn from news articles. Stripped of context and background information they float eerily on the white page.
Her images use the delicate style of watercolors to express the brutal elements of modern society. She wants to illustrate this dynamic in her work: “A few years ago I took part in the occupy Oakland protest and one thing that was really striking was how beautiful tear gas is, especially at night. I want to use these clouds in a way that uses the visual language of beautiful landscape watercolors.”
She came to this series through an obsession with the images themselves. She explains that her earlier work was quite different. She made oil paintings influenced by scenes from religious paintings. She says she took “scenes from particle paintings that featured the virgin mary and then juxtaposed them with my own life. ” Once she finished this series she didn’t know what to do with her art. She says she floundered for a few years. In this time she collected images without a specific project in mind. She collected images that she describes as ” a little uneasy, almost humorous. Taken out of context you could look at them and say, ‘oh this is a science fiction movie about a post apocalyptic future;’ but the weren’t, they were just news stories from today.” When she began painting these images in watercolor she says “something clicked.” She instantaneously knew that was the direction in which she wanted to take her art.
Collecting images remained integral to the process. She sees herself as a “visual data organizer,” and her sketchbook as a “visual database.” Her sketchbook has few sketches; instead she makes collections of images to prepare for paintings. The sketchbook consists of pages of related images in which she is interested- she has pages dedicated to sinkholes, for instance. Other pages combine images from distinct sources; she has a page with refuges and marching bands. She says, “I have been working on combining different kinds of parades. I am figuring out how to combine those visually and what that means in terms of masses of people and how they congregate.”
In her newest work she is interested in dissecting what it means to juxtapose images that are visually similar but quite different thematically. “I have been collecting images of tidal waves and kids playing in hydrants and with images from the civil rights movement – a big way that black protesters in the 60s were dehumanized was by spraying them with fire hoses. But all of those images, when you break those down to basic visual information, are nearly identical. At a glance you wouldn’t know, are these people playing? Are these people running from nature? Are they running from other people who don’t see them as human?”