Roy Freer ROI
Freer’s work showed a single minded focus in using overlays of rich colour to depict still life, figure and landscape as a way of presenting a visual understanding of his subject.
Working from a familiar selection of either studio based still life objects, or outdoor features he continued to explore the tension held both within and between objects to a degree whereby they are held by the fulcrum of the painting.
Towards the end of his career Roy’s work was concerned with the interpretation of the subject as a visual experience rather than a physical factual response. For Roy it was not so much a case of losing the identity of the object so much as becoming more aware of the less tangible qualities within appearances. Objects were seen disguised and visually modified by light, shade, space and distance resulting in the fragmentation of colour and form.
Roy showed an engagement with the medium in the manner of his over-layering brush marks which acted as directional indications that underpinned the main structure of his paintings, so that the whole is suffused with lighting depicted in strong shafts of colour across the canvas.
Throughout his career Roy gained a number of prestigious awards and his work is held in many public and private collections.
Awards
- 1986 The RI Bronze Medal
- 1994 The Llewellyn Alexander Award
- 1986 & 87 The Cornelissen Prize
- 1995 The C. Roberson Prize
- 1992 Catto Gallery Award
- 1997 The Stanley Grimm Prize
- 1997 Higher Certificate. Distinction – life Drawing from De Montford University
