Ongoing Art Work
Freeman Patterson works in two closely related fields on a regular, ongoing basis; photography and visual design. He always has photographs or related projects in the imagining, planning, creation, or execution stage, and continually gives himself assignments that maintain, improve, and develop the craft aspects of his work and the quality of his seeing. Because he believes strongly that all art forms (visual, performing, literary, etc.) enrich and contribute to the development of the others, Freeman makes time for reading, writing, listening to music, watching films and videos, attending theatre, interacting with CD-ROM's, and meeting with artists and others involved in the arts.
Freeman has had seven solo exhibitions of photographic prints: Freeman Patterson: Monograph, The National Film Board of Canada, widely exhibited in Canada, the United States, and many other countries between 1973 and 1980; A Moment In Time Gallery, Toronto, ON, 1974; North Market Arts Gallery, Saint John, NB, 1980; One Planet, One Man, Aitken Bicentennial Exhibition Centre (Frazee Gallery), Saint John, NB, 1993, toured to several other galleries in New Brunswick and Nova Scotia, between 1993 and 1995; ShadowLight, The Royal Ontario Museum (Gallery of Contemporary Culture), Toronto, ON; Odysseys, Tatar/Alexander Gallery, Toronto, ON, 1996; and Bouquet, a second touring exhibition which opened at the Aitken Bicentennial Exhibition Centre, Saint John, NB, 1998. Since 2006, a series of solo exhibitions entitled “Odysseys and Beyond”, “The Colour of Water” and more recently, “A Natural Reverence” have been displayed in public and private galleries across Canada, the latter exhibiting at The University of New Brunswick, West Gallery, Memorial Hall in 2010.
In 2013/2014, a solo retrospective exhibition, “Embracing Creation”, was held at the Beaverbrook Gallery in Fredericton New Brunswick. In concert with the exhibition, publication of the same name was produced by Goose Lane Editions with an introduction by Tom Smart and a collection of 115 of Freeman’s images within the book’s 138 pages. In addition, his prints have been included in numerous group exhibitions created by the National Film Board of Canada for New York’s Museum of Modern Art and other galleries and museums around the world.
It is far more difficult to specify Freeman’s exhibitions of colour transparencies. Between 1963 and 1970, his images were chosen by more than 500 competitive exhibitions (all approved by the Photographic Society of America) throughout North American and abroad. Subsequently, Freeman sat on the juries of numerous such exhibitions. From this period on, he has made major audiovisual presentations to art groups, art educators, and the general public. An abbreviated list of North American cities where he has appeared includes Victoria, Vancouver, Edmonton, Calgary, Regina, Winnipeg, London, Toronto, Montreal, Fredericton, Saint John, Halifax, St. John's, Los Angeles, San Francisco, Seattle, St. Louis, Atlanta, Dallas, Birmingham, Asheville, Cleveland, Cincinnati, New York, Hartford, and Boston.