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Raised as a Jehovah’s Witness Inga McCaslin grew up speaking her faith not as “belief” but as “The Truth”.  Rejecting that “Truth”  led to an urgency of existential questioning that has never ceased. She initially turned to physics to grapple with the nature of reality, but pivoted to art to embrace the lived  "reality" that is inescapably filtered through the unreliable vehicle of mind. This tension between objective “fact” and subjective perception remains a driving force of her practice.

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After earning an MFA from the University of Pennsylvania, Frick moved to New York City to develop a body of work inspired by the phenomenology of cubism and the improvisations of jazz. This "sensual investigation" into the nature of experience led to significant early success in Washington, D.C., where she was represented by the premier Middendorf Gallery and included in the 1994 Corcoran Biennial of American Painting.

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Frick pursued a second MFA in digital art in 1995 partly inspired by the explorations of consciousness of the video artist Gary Hill.  Her collaborative work during this period culminated in a Bunting Fellowship at Harvard University’s Radcliffe Institute in 1999 together with her close friend and sometime collaborator, Gillian Brown.

 

While teaching digital art at Stetson University in 2000, she began synthesizing the digital and physical realms, developing a hybrid practice of "painting" with digital materials that continues to the present.

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Following a decade of private studio practice dedicated to caregiving—a period of deep, unpressured investigation—Frick is now re-emerging into the formal art world and re-imagining the possibilities coming out of her long years of investigation. Based in Guerneville, California, she is currently working of a series that explicitly addresses the tenuous connection between the material world and our highly mediated experience of it.