Frank Forrestall Fine Art

Frank Forrestall Fine Art Surrealist Artist Frank Forrestall creating windows into the Transcendent

In this luminous tableau, a golden, fish-like being with a human face and long pointed nose drifts through the midnight ...
09/06/2026

In this luminous tableau, a golden, fish-like being with a human face and long pointed nose drifts through the midnight forest, its body casting the only light in the scene. The deep chiaroscuro throws the surrounding trees into stark relief, their shadows closing in like silent witnesses. The creature’s expression—wide-eyed with wonder—suggests it is both discovering and being discovered, a fragile miracle adrift in an unfamiliar world. Like a spirit from folklore or a messenger from the dream-realm, it illuminates not only the forest but the quiet tension between beauty and vulnerability in the dark.

Godhead presents divinity not as a perfect, unified being, but as a chaotic accumulation of souls, masks, idols, and for...
09/06/2026

Godhead presents divinity not as a perfect, unified being, but as a chaotic accumulation of souls, masks, idols, and forgotten selves fused into a single floating presence above a barren world. The central face appears overwhelmed by the countless smaller figures erupting from it—some mournful, some ecstatic, some monstrous—as though consciousness itself has become crowded with ancestors, myths, and archetypes struggling to speak at once. Crowned with a crude effigy and suspended over an empty horizon, the figure evokes the ancient idea that gods are not separate from humanity, but born from the collective fears, dreams, rituals, and identities we pile upon one another across generations.

Relic of Mimir appears as a fragment of buried wisdom, a face half-unearthed from stone as though thought itself has fos...
08/30/2026

Relic of Mimir appears as a fragment of buried wisdom, a face half-unearthed from stone as though thought itself has fossilized within the earth. Its fractured geometry and embedded gaze evoke a mind that has endured too long, knowledge compressed into relic form and sealed beneath time’s weight. The surface reads like both ruin and memory, suggesting that what is remembered is never whole, only pieced together through erosion and myth. In this image, wisdom is not illuminating but entombed—something ancient, watching still, but no longer speaking in a language we can easily hear.

An immense face fills the frame, its bark-like skin cracked with age and memory. Within its deep-set eyes appear smaller...
08/28/2026

An immense face fills the frame, its bark-like skin cracked with age and memory. Within its deep-set eyes appear smaller carved faces, like spirits imprisoned behind a wooden mask. These embedded visages symbolize the internal multitudes that inhabit every consciousness—the echoes of past selves, mentors, ancestors, and fears. The painting invites viewers to consider the inner crowd that shapes identity. In the Eyes becomes a confrontation with the self as a composite entity: layered, fractured, wise, and haunted. It is both introspective and mythic, an encounter with the ancient being that dwells quietly behind one’s own gaze.

Painted during Live Stream session; November 24, 2023.

In Entropic Spirit, the human face dissolves into root, branch, and cosmic void, embodying both creation and decay. The ...
08/27/2026

In Entropic Spirit, the human face dissolves into root, branch, and cosmic void, embodying both creation and decay. The figure, with its penetrating eyes and a third gaze set aflame, feels like an archetype drawn from forgotten myth—part earth deity, part dream apparition. Its form suggests the unstoppable drift of entropy: the slow unraveling of order into chaos, yet also the possibility of renewal within that dissolution. Emerging from a personal dream language, the spirit is neither wholly destructive nor benevolent, but a liminal presence that forces us to confront cycles of transformation. Here, mythology and psychology entwine, reminding us that entropy is not just an ending, but a passage into deeper mystery.

Emerging from liminal sketching, the vision of a woman's face entwined with death's grimacing head reminded me of the cl...
08/26/2026

Emerging from liminal sketching, the vision of a woman's face entwined with death's grimacing head reminded me of the classical theme of "Death and the Maiden" explored by other artists (Schiele, Stokes, Verno, Munch, etc.). In this case the "maiden" is aged and closes her eyes in resignation to the darkness. I can only speculate from where the imagery emerges: after a long life of carrying trauma so deep the whispering of death sounds at last like seductive release.

This painting envisions Chaos not as empty void, but as a primal being—both god and abyss—striding through the formless ...
08/25/2026

This painting envisions Chaos not as empty void, but as a primal being—both god and abyss—striding through the formless dark. Its body is woven of torn veils and writhing strands, suggesting a creature that is less flesh than unraveling energy. Multiple faces scream and emerge from its chest and abdomen, as if the being is composed of countless souls or proto-forms struggling to be born.

From its head erupts a torrent of galaxies, stars, and worlds—an entire cosmos spilling outward in a violent surge of creation. Yet this birth is not gentle; it is raw, terrifying, and unstable, echoing the ancient Greek conception of Chaos as the yawning gap before order, or the Babylonian Tiamat, whose body was torn apart to form the heavens.

Around the figure swirl fragments, wings, and broken shapes, like the detritus of unformed worlds, reminding us that creation and destruction are inseparable. The being strides forward, looming and immense, caught between dissolution and genesis.

This is the moment before myth solidifies into story—the first breath of the universe, embodied in a monstrous, godlike form.

Pilgrim’s Regress depicts a hybrid beast carrying a crowded vessel of strange, brightly colored figures, moving steadily...
08/23/2026

Pilgrim’s Regress depicts a hybrid beast carrying a crowded vessel of strange, brightly colored figures, moving steadily across a barren landscape under a watchful sun. The creature functions as both mount and ark, burdened with the accumulated identities, beliefs, and contradictions of its passengers. Rather than a triumphant journey forward, the painting suggests a return—or an inward turn—where progress becomes cyclical and history weighs heavily on those who carry it. The work reflects on cultural inheritance, migration of ideas, and the strange cargo we bring with us on spiritual journeys.

Born from a spiraling automatic drawing, Phobiaphobia unfolds like a dream-image solidified in paint. A small figure fle...
08/23/2026

Born from a spiraling automatic drawing, Phobiaphobia unfolds like a dream-image solidified in paint. A small figure flees across a barren plain, tethered to a chain of colossal, mask-like faces that swell into the sky. Their cracked, earthen textures suggest both ancient idols and weathered psychological archetypes, linking the scene to mythological traditions where masks serve as thresholds between human and divine.

From a Jungian perspective, the work evokes the struggle with the “shadow”—those aspects of the self that loom larger the more we attempt to outrun them. The tether of faces recalls the weight of ancestral memory, inherited fears, and the collective unconscious, all pressing down upon the individual. Yet within this haunting vision lies transformation: the act of running suggests not defeat, but the beginning of an inward journey toward integration.

Like much of the artist’s work, the painting balances mythic resonance with personal dream language, where inner landscapes take on monumental, almost cosmic form. Phobiaphobia becomes a meditation on fear itself—the fear of fear—and the strange beauty that emerges when we dare to give it shape.

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