Interview by Adam K. Woods | Photographs by Sierra Stinson
Erin welcomes me into the peach light of her Capitol Hill apartment. It is the evening, late winter, and her home feels like a reliquary for precious objects. Heavy, sculptural drapes line the wall, blurring our current space and time. Pink suitcases nest together under a seating area in her bedroom. Jewelry hangs wherever it can; meticulous but organic. A closet door ajar allows a keyhole glimpse into her infamous collection of vintage dresses and party attire. The picture window in her apartment frames the glittering rubies of tail lights heading down I-5, creating a scintillate quality to the room.
If you make art here in Seattle, you have most-likely seen Erin Frost’s work. She is a versatile artist, creating successful pieces in numerous mediums. Meticulous embroideries clinging to intimate fabrics, blushing lipstick kisses sequenced at an arresting rate and proportion, sumptuous performances involving the use of her body and what she has chosen to activate with her presence. Erin is part of Seattle’s “empathic movement” as it is being called, and she gleans inspiration from the soft work of being human.
Most recently at the group show, Go On Take Everything, I experienced a collection of her ceramic duplications of corks. The champagne cork chosen for the replicas was the type you might clean up the morning after a celebration, maybe squeeze in your fingers remembering the party the night before. Featured in different stages of the firing process; many of the corks bared patches of rough white skin, some shone with a glossy clear glaze, others were scumbled with a solid gold coating. Over 80 corks were piled on a tray, and gallery-goers were welcome to handle the corks and purchase them. The piece was called “Is That All There Is?“