Peterborough born Don Frost had his future path laid out for him by winning first prize in a city wide art exposition at age six in grade one. The following year at age seven, Don had a group showing at the Peterborough Public Library. Public school had its usual trials and tribulations and it was not until grade 10 that Don discovered that he was colour blind to all but the primary colours. At this point Don’s life took a right turn and sculpture was all that he focused on. Don teamed up with a friend in grade 11 who became his art agent and they enjoyed considerable success in the Peterborough area. After highschool Don took some time off to do his art and apprentice as a mechanic for a year. In 1973/74 he attended Sheridan Art College followed by a decision to become a professional sculptor having just received a major commission for a large 15′ tall sculpture for a new mall being built in Peterborough, Ontario. This was followed by the creation of the largest sculpture in Canada in 1983 by winning a competition for an indoor work for the Michael Starr Building in Oshawa, Ontario.
Always seeking new outlets for art Don acquired an art agent in Ottawa which led to an introduction to a patron who kept Don busy creating more than 40 sculptures in a period of twenty years. Don’s work internationally was recently a commission for four large works for a garden in Club Medjulis in Riyadh, Saudi Arabia. Previous to this in an expansive design project by the late King Hussein for a 1.6 km wall of huge relief panels commemorating the history of Jordan, Don’s work on six of these panels was accepted by King Abdullah. Experiencing greater notoriety for the global uniqueness of his art, Don was presented with awards from Peterborough County and commemorated in the Walk of Fame. Presently Don has art representatives across the United States and Canada and one on-ground/online gallery in Turkey just for pure fun. “I always thought Turkey for Christmas would be the perfect vacation.” The greatest work of Don’s career now stands as “The Resurrection Cross” outside the Catholic School Board office on Lansdowne Street in Peterborough, Ontario.
“The act of being a sculptor and continually experiencing the creative challenges in this multidimensional world causes a thought process that spills over into all facets of life causing the world of the artist to become a work of art.” — Don Frost
“I have always considered sculpture to be a three dimensional representation of a feeling, or idea, as a priority and the material chosen to represent this idea as secondary. Stone, steel, wood, and bronze are all wonderful materials in their own right, but all with limitations of versatility, production time, and expense, which is why I have chosen to work with composite materials for over forty years.
“A composite is best described as very strong fibres secured in a plastic liquid which, with a catalyst added, hardens into a strong, lightweight material. Composites are rapidly becoming the choice for many extreme cars and have been used in the boat building and aircraft industries for years. My use of composite materials, namely fiberglass and polyester resin, are applied over a base of chemically resistant urethane foam. The foam is carved into its sculptural shape and then numerous layers of resin-impregnated fiberglass are applied over the surface to provide the strength to the sculpture. Following this process, the fiberglass is cleaned up and the next creative process of enhancing this shape takes place. When satisfied with this new form, there are many surface treatments available to duplicate many alternate materials, or a final urethane or epoxy coating of a chosen color and texture can be applied.
“With many, or most, of the freeform sculptures being created as expressions of passion and play with simple shape, it is not until the sculpture is completed in its second stage that a choice is made as to which angle best displays its drama and where to attach this piece to its base, if attached at all.
“This sculptural form of “freeform” is best described as the creation of a playful non-representational shape using contrasting elements to create the excitement and drama in the piece. Sharp vs. round, big vs. small, hollow vs. massive, texture vs. smooth–think of Max Bruch’s violin concerto #1 represented in part in a physical from. Freeform sculpture and classical music are sister and brother with each creating their beauty through their own dramatic range of potential variations.”