The pristine surfaces of these architectonic paintings bear the hallmarks of American post-Abstraction and conceptual practice as they nod in the direction of Barnett Newman and the Minimalist sculptor Dan Flavin; but there the affinity with both artists ends. Up to ten layers of paint – dependent upon Luke Frost’s selection of colour or tone – result in a surface that recedes into sometimes deep, sometimes shallow, recessive space. These abstract paintings imply space rather than define it through their mass and surface. The juxtaposition of contrasting colour hints at a relationship with nature. Working within the legacy of the St Ives School of Modernists, Frost is attempting to relate colour and form to create a space sensation that conveys a representational experience devoid of gesture and authorship.