Whether he is producing a conventional painting on canvas or riffing on the tapering cylinder of a baseball bat, even the deflated sphere of a dried gourd, he builds up a tension between the perceived spatial depth laid down in the two-dimensional plane and the physical fact of the three-dimensional object. Conventional notions of painting and sculpture become subtly redefined in his gallery displays, where apparently traditional demarcations between wall-based canvases and floor-based objects such as suitcases are challenged by suggesting spatial and aesthetic correspondences. Both the paintings, which project an inch or two, and the luggage have their five visible sides painted on. Both carry within themselves an idea of space – the illusionistic and literal eliding – and perhaps, Frost seems to suggest, both need unpacking.