Art Walk: Artist Profiles
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The design relationship between the patterns of decoration and deterioration has fascinated Trosclair since her New Orleans childhood. Armed with an X-acto knife, cordless reciprocating saw and occasionally a crowbar, the installation artist creates lace-like compositions mimicking deterioration by cutting through decorative wallpaper and plaster in decaying rooms. Her site-specific wall cuttings presented a challenge when she won the Great Rivers Biennial 2014ÛÓin addition to a grant, the prize includes a show at the Contemporary Art Museum, a far cry from the abandoned houses where her work typically appears. To engineer a similarly immersive experience, the museum’s installation crew built new walls, which Trosclair turned into deterioration timelines. The largest, 12 by 100 feet, grows from a small fissure to a gaping hole that reveals a bare-bones structural skeleton.
At first glance, the commonalities in Frost’s work are elusive. Scores of discarded household objects in “White Wall.” Hundreds of paper weapons in “Arsenal.” Thousands of computer keys in “QWERTY.” And a forest of bamboo poles lashed together by cloth strips in “Site”ÛÓthe work she’s been showing most recently, including at an upcoming installation at Mad Art Gallery in Soulard. But there are clues in the repurposed items, the large-scale immersive installations and the massive accumulation of things. Frost so enjoys new materials and techniques that storage boxes are perhaps the only “tool” that all her exhibitions share. Her day job in graphic design and a previous gig painting sets at The Muny have influenced her expression of ideasÛÓso does her 6-year-old son, with his spontaneous, profound creativity.
Photo credit: Matt Kile