Platform:2015, Edinburgh Art Festival
Skinny feature article by Jessica Ramm and Adam Benmakhlouf, 2015.
"... Ross Hamilton Frew takes a more literal and physical approach by pulping works of literature he has gathered. From this raw material, he creates handmade recycled paper. Using the original works as reference, but with enough remove for the sources to become completely anonymised, he in turn creates haikus that pay homage to the pulped texts. On the paper itself, following a strict set of rules, naturally occurring speckles are joined and networked to create delicate drawings from this process."
Review of Platform:2015 in The List by Susan Mansfield, 2015.
"Ross Hamilton Frew creates delicate abstracts by making patterns of fine lines on handmade recycled paper. Here, he places them next to recycled words, which he shapes into haiku with the same meticulousness."
Edinburgh Art Festival review in The Herald by Barry Didcock, 2015.
"Elsewhere, honourable mentions should go to the four young artists involved in the Platform: 2015 show on Blair Street (particularly Ross Hamilton Frew)"
Paper Mountain exhibition and Joondalup City mural commission
The West Australian article by Gemma Weston, 2013.
"You end up with a nice conversation between the styles. It's both of our first attempts at drawing at this scale as well. I think conversation is going to be important."
Review by Olivia Gardner
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A Wee Tasty
Feature in The Skinny by Rosamund West, 2009.
"We’re not going to have the bands on stage, we’re going to have them scattered around to give a level playing field."
Know I Know My ABC's
Review in The List by Alexander Kennedy, 2007.
"....A more restrained use of colour can be found in Ross Hamilton Frew's 'Boredom Patterns 1 - 3'. Frew removes the signifying potential of Cy Twombly's forms, turning his line into dashes and swirls that escape the early hand-painted pop trajectory of Twombly's canvases. The three paintings rest on the ground, emphasising their 'objectless', and invoke the crayon and coloured pencil forays into mark making that one finds on the walls of children's bedrooms"
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Skinny feature article by Jessica Ramm and Adam Benmakhlouf, 2015.
"... Ross Hamilton Frew takes a more literal and physical approach by pulping works of literature he has gathered. From this raw material, he creates handmade recycled paper. Using the original works as reference, but with enough remove for the sources to become completely anonymised, he in turn creates haikus that pay homage to the pulped texts. On the paper itself, following a strict set of rules, naturally occurring speckles are joined and networked to create delicate drawings from this process."
Review of Platform:2015 in The List by Susan Mansfield, 2015.
"Ross Hamilton Frew creates delicate abstracts by making patterns of fine lines on handmade recycled paper. Here, he places them next to recycled words, which he shapes into haiku with the same meticulousness."
Edinburgh Art Festival review in The Herald by Barry Didcock, 2015.
"Elsewhere, honourable mentions should go to the four young artists involved in the Platform: 2015 show on Blair Street (particularly Ross Hamilton Frew)"
Paper Mountain exhibition and Joondalup City mural commission
The West Australian article by Gemma Weston, 2013.
"You end up with a nice conversation between the styles. It's both of our first attempts at drawing at this scale as well. I think conversation is going to be important."
Review by Olivia Gardner
A Wee Tasty
Feature in The Skinny by Rosamund West, 2009.
"We’re not going to have the bands on stage, we’re going to have them scattered around to give a level playing field."
Know I Know My ABC's
Review in The List by Alexander Kennedy, 2007.
"....A more restrained use of colour can be found in Ross Hamilton Frew's 'Boredom Patterns 1 - 3'. Frew removes the signifying potential of Cy Twombly's forms, turning his line into dashes and swirls that escape the early hand-painted pop trajectory of Twombly's canvases. The three paintings rest on the ground, emphasising their 'objectless', and invoke the crayon and coloured pencil forays into mark making that one finds on the walls of children's bedrooms"
