Fredericks sites Topophilia: the Greenland Ice Sheets, as the next conceptual step to his Salt and Lake Eyre series.  “The rationale was to locate the project in an even more minimal landscape than Lake Eyre, replacing the salt lake bed with snow and the clear desert air with an atmosphere of fine ice crystals.”  Fredericks is a man that risks his life for his art throwing himself, for extensive periods of time, into unimaginably inhospitable conditions - he made six journeys to the centre of Greenland’s Ice Sheet, between 2010 to 2013, in a continued quest to explore the subjects of ‘space’ and the ‘void’.  Aiming to convey ‘an emotional experience of space’, he describes an inner, rather than outer landscape.  Fredericks locates his projects in featureless, perfectly flat landscapes, austerely defined by an unbroken and continuous horizon.  Working in such minimal environments, temporal atmospheric phenomena and the subtleties of light become powerful elements that define the visual plane.  Verging on transcendental, this view transports us beyond our everyday recognition of geographical space. 

 

Fredericks’ projects extend over many years – sometimes with months spent in treacherous conditions – yet he says that the adventure is simply a by-product of the pursuit of a vision and an adherence to concept.