Intrinsic Surface, Intrinsic Tension (Kneeling by the Lake)

Frazer’s process begins with an assortment of iPhone pictures and screenshots. As a trained graphic designer with major consumer tech brands such as Apple and Figma on her resume, Frazer challenges and reimagines quotidian computer products (such as Pages and Keynote), re-purposing them as tools in composing her digital paintings. The end result is something akin to Rosenquist’s collage paintings, where multilayered images are quietly revealed through a process of cutting or splicing the top layer of the canvas. Frazer’s process-driven practice has a level of seductive accessibility that can only come from an individual with an acute sensitivity to consumer desires. Her digital paintings are multidimensional and dynamic, without sacrificing legibility. Repeated motifs ground the digital landscape. They are sourced from memories and moments captured in everyday iPhone pictures, and while the imagery may be obscured, the emotions are heightened, teetering between novelty and familiarity. Her twitter-text-collage titles are produced by a digital scrambler, making them playfully nonsensical. Inspired by the Japanese art of flower arrangement, called Ikebana, the artist constructs unique compositions, balancing blurred images with hyperreal depictions of flowers and greenery.