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
ARTIST USES SPACE TO CREATE MOTION
Kevin Costello
Herald-Tribune
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.