Flo Freernan was born in 1974 and studied art at college in Leicester and adapted her own unique and individualistic contemporary style which remains original and extraordinary. Her first major display work was an 8 feet x 10 feet wall mural entitled 'Lovers' Suicide' which earnt her critical acclaim and the deep interest of her peers. It currently adorns one of the walls in her home. Flo has continued to explore the medium of oil on canvas citing her view that a lot of 'art' these days is all about concept and no real depth of feeling. She has also ventured into sculpture and is very; interested in this particular medium. Her themes revolve mainly around human body image, the way we see ourselves and the emotional issues and conflicts that are attached to this. Drawing from personal life experience and a wide and vivid pictorial imagination she has been working on a series of paintings which. are almost entirely sepia in colour with only the occassional twist of a very bright and vibrant contrasting green. Her pictures are simple in subject and yet involving and effective. They are soft to the eye and yet often quite shocking and stark. Flo has undertaken several commissions over the last two years and has also designed record covers. She has exhibited her work locally several times and has just finished a 3 month residency at Xu in Leamington Spa where her paintings and sculpture received wide admiration..
The work featured in my web-page are a series of ideas which I have been pursuing for nearly three years. They all concern the human body and emotions and conflicts that we associate with it. Rather than give each piece its own particular meaning, I choose to let the viewer decide for themselves what is being depicted, as each of us views our bodies in different ways, and so different images conjure up different responses. The idea to create mainly sepia colours was to enhance the feel of skin and to give the often stark images a sense of warmth. Occasionally there is a contrasting brightness eminating from somewhere which emphasises the soul of the picture. The characters are faceless allowing the viewer to impose their own particular slant and also as a symbolic reference to the impersonality of modern life and the covering up and stigmatising of the self. Without facial features 1 feel the images take on a whole new depth of humanity.