Thomas Frontini’s art is based on the premise that fantasy and reality are always clashing in our consciousness. No matter how we may change and advance technologically, human consciousness is stuck in instinctual traps. Since this sad fact dooms man to a never-ending cycle of repeating past mistakes, Frontini translates dreamlike visions into parables of warning in his paintings and reflects upon the cultural significances of the shrine in his sculpture.
The shrine, its function today and in the past amongst various cultures, is prominent in Frontini's sculptures. How society and cultures develop a desire to move away from perceived old and insignificant rituals into a newer and “more enlightened” present is but a farce. The rituals are not stopped, the shrines are not destroyed; they are just shifted into different forms and ceremonies. The rituals of our ancestors may not look the same, but they still exist in a more contemporary form, with very similar intentions behind them. Frontini seems to want us to enter a dialogue about the present and the future.
The concepts that Frontini presents the viewer with, his minimalist architectural and ritualistically functional sculptures, are guided not only by the forms, but the titles they are given. Titles have symbolic portent and with Thomas Frontini’s sculptures, one can only assume that he means not one thing by them, but many.