Luke Frost, who works from an artist's studio complex in central Penzance, uses what he describes as " a meticulous process" in the production of assertive monochromatic canvases traversed by thin, laser-Iike .'volts' or lines of pure, contrasting colour.

These lines punctuate the uniform expanses of pristine colour either centrally in the 'Supervolt' series or peripherally in the 'Chromavolt' canvases.

Within the limits of his chosen language Frost elicits marked variety in terms of colour, scale, format and linear placement, plastic qualities that carry differing spatial sensations both in relation to the composition itself and beyond to the surrounding environment.

Intentionally or not these elegant canvases posses a certain kinship to late modernist painting, notably to the post painterly abstraction of Newman, Kelly or Noland or to the minimalism of Flavin, Judd and Ryman in America.

This in turn distinguishes Frost from the pastoral romanticism and landscape content of post war 'middle generation' abstraction in St. Ives.

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