Frol Boundin was born in Leningrad (St. Petersburg, Russia) in 1974. He received his initial artistic training in the traditions of social realism from his grandfather the painter Victor Boundin, as well as at the Leningrad School of General Arts. He moved to the United States in 1990 and received his Bachelor of Fine Arts degree from the School of the Art Institute of Chicago in 2000. During the following 10 years, Mr. Boundin lived and worked in Chicago, focusing on large-scale abstract paintings and prints, as well as collaborative installations and graphic design projects with local arts community organizations.
In 2013, Mr. Boundin received his Master of Fine Arts degree from the University of New Mexico. Recent exhibitions include Atlanta Print Biennale, Beyond Printmaking, and the Boston Printmakers Biennale, as well as his critically acclaimed solo exhibitions “Last Monuments” at Albuquerque’s Society for Contemporary Art and “Etchings, Monoprints, Series” at Sea Islands Art Center, Beaufort, SC Most recently his work was featured in the “Artists on Art” program at the El Paso Museum of Art, as well as “South Carolina 2018 Biennale” at 701 Center for Contemporary Art, “Art Fields 2018” and others.
From 2014 to 2018 Mr. Boundin has taught at the University of South Carolina as an Adjunct Instructor of printmaking. Recently Mr. Boundin has relocated to Southern California and opened a private print studio – “Rosewood Press” that specializes in Intaglio and Monotype printmaking, as well as digital photography and book arts.
My work explores the impact the symbolic structures have on the formation of personal memories and the mechanisms by which temporal experience can be expressed in two dimensional form. The human transformation of landscapes, and the evolution of artificial and natural elements into symbiotic ecologies, I see as monuments to the changing of our perception of the past and present.
Archaeology of the post-industrial landscape inspire compositions that function as palimpsests and are assembled from a variety of sources. I search for banal objects that have been elevated to the status of a monument by careful placement or restoration. I seek items that are absorbed back into the landscape by a natural process of decay. In all, a process of discovery drives me; the act of "finding" is central to this work.
Just as in the landscape, the discarded remnants of our industrial past become habitats for a viewer’s memories and day dreams, the forms, colors, and textures of my prints provoke the viewer to reflect on a personal history. In this work, the relationship between different materials and techniques forms a poetic environment of reflections and associations.