PER FRONTH: WORKS IN SERIES
In the Artist Studio: Per Fronth working the surface of AFG ( Paraphrase The Storyteller) / Mixed Media / Oil on canvas / 443 x 167 cm / 174 x 66 in/ in 2009. The artwork is part of the series Theatre of War which saw Fronth go to worn torn Afghanistan to collect raw-material for his new focus, the Western worlds desire to exporting democracy to warlord countries in the east, a physical response to the 9/11 World Trade Center terror attacks in Per Fronths own neighbourhood in New York.
The Norwegian Intelligence Service later acquired three works from the Theatre of War series.
Working in series: A contemporary narrative
Per Fronth often produces works in series, and many of them are a continuing storyline lasting decade. New artworks are added to the specific narrative of each individual series, some series even cross each others paths and intertwine.
Fronth series Archipelago, which focuses on identity and upbringing in his native coastal Norway, is in continuum.
New works are produced almost yearly with added layers and interpretations.
Other series are time limited, like the hunting tale BLOODLINES, about fox hunting on the British Isles which was banned in 2004.
Per Fronths interest in the Human Condition, its flaws and inspirations, might serve as the guiding line as to which particular focus Fronth chooses to investigate and study when making his art.
Many of Per Fronth projects hence derive from both political and poetic raw-material.
His focus on war, hunting, our threatened environment, death penalty, human trafficking are visual backdrops, a platform to create contemporary art and be part of the current exchange of ideas, and discuss current issues of our lives.
Thus Fronths series Archipelago, Reservoir and Evolution of Melancholy brings a more poetic, closer approach to discussing the Human Condition.
One human at a time.
Series : ARCHIPELAGO : in continuum
The series Archipelago is Per Fronths ongoing body of works which focuses on identity and upbringing in his native coastal Norway. Seen here the work Buoyancy ( Archimedes 212 BC) Fronths visual commentary on the influx of refugees sweeping the European continent in recent years.
Theatre of war Afghanistan / 2009
Theatre of War is Per Fronth series from worn torn Afghanistan. In 2009 Fronth was as the first artist ever allowed to follow the Norwegian Coalition forces of Democracy in Mazar - E- Sharif
LAST STATEMENTS: THIRTEEN PLATES / NORWAY / 2011
Having visit Huntsville Prison, Texas many times for execution, Fronth decided to focus on the very last statements of prisoners killed. Thirteen marble plates in 24 carat gold plating tell their tales.
EVOLUTION OF MELANCHOLY
A portrait of the former director Edvard Moseid of Dyreparken Zoo, Norways largest tourist attraction, marked the beginning of Fronths investigating of psychological portraits on large scale canvases.
BLOODLINES - THE DUKE OF BEAUFORTS FOXHUNT LONDON / 2000
The Duke of Beauforts Foxhunt is the focus of Per Fronths contemporary visual storytelling in this series from 1999 & 2000 culminating in a controversial yet highly successful show in London.
DEFENCE
Over many years Per Fronth collaborated with the dance / Theatre group LOOP LOOP LOOP in an effort to make artwork focusing on movement as a means of expression of contemporary ideas.
Conflict / Political Scene
The visual backdrop chosen for the series Conflict is a contrasting one. Fronth decided to once again use dancers, or here ballerinas , as the leading figures of comments on the human rat race we all subjects ourselves to.
XINGU CHRONICLES: BRAZIL & NEW YORK / 1998
In 1996 & 1997 Per Fronth lived with indigenous peoples of the Xingu province in Brazil helped by Lars Løvold, Rainforest Foundation. It was Fronths international breakthrough in New York.
Reservoir / Landscape divided : in continuum
The series Reservoir and Landscape Divided are part of Fronths studies of Nature - executed with his approach Photography as Painting; Environmental focus is the underlying theme.
GRAVITY / Trampoline
Having turned fifty years old, established with three kids, and a stable family life, Fronth began to address in his work, a self- reflectatory focus on the Moderns Man, i.e. himself as the subject.