October 22 – December 9 2016

Alistair Frost’s exhibition offers two kinds of artistic creativity: that produced by the artist in isolation and that made in co-operation with Backlit Gallery’s own studio artists and the visitors who come to see the show. In Frost’s own words, the exhibition places a deliberate emphasis on ‘isolation versus connectivity’ and how these two approaches lead to markedly different artistic outcomes. The paintings and drawings in the largest gallery space have been created by Frost alone in his rural Gloucestershire studio over the past two years and reflect a new direction for the artist. Graduating from Glasgow School of Art in 2004 and the Royal College of Art in 2007, and then completing a residency at the Rijksakademie in Amsterdam, Frost is now making painting that appears to be quite formal but asks us to look twice at familiar shapes and other imagery.

They are also the work of an artist who is dedicated to the painting tradition and desires to make artworks that are immune to passing fashions and the background noise of digital chatter. By contrast, the mural and the ‘Amazing Human Fruit Machine’ have both been made in co-operation with Backlit’s studio artists and require manual interaction. The mural incorporates a selection of studio artists’ objects and artworks and so acts as a still life of artistic activity at Backlit. The human fruit machine was devised by Frost but built by studio artists and also connects informally with Backlit’s history and local social history. Finally, the fruit machine also represents the artist emerging from his studio to co-operate with the gallery audience who play this decidedly ‘analogue’ game of chance. A full interview with Alistair Frost is available in the guide accompanying the Backlit exhibition.



TALK: November 12: free exhibition tour and talk with Alistair Frost. 3-4pm. No booking required.


Drop-in session November 19: screen-printing and badge-making using imagery from the exhibition. 2.30pm-5pm. Open to all. No booking required.

Supported by
MARY MARY & The Arts Council England