Known primarily for his conceptual photography, film projects and colour-intensive paintings, Roy Colmer challenged the boundaries between these disciplines in order to develop a new kind of perception. Inspired by the shifting artistic cultural landscape brought about through the introduction of electronic media, Colmer connected the surfaces of his paintings to video through the use of spray techniques and a careful selection of colour, suggesting filmic effects such as movement, flicker, distortion, and as Colmer described, “feedback.” He was interested in the immediacy and versatility of the spray gesture and the ability to manipulate space and depth through colour and form, notions influenced by his Concretist mentors at the Hochschule für Bildende Künste in Hamburg, Germany. By the early 1970s, Colmer began to incorporate this telegenic feedback directly into his practice, increasingly working in video and film. His exploration and manipulation of electronic signals was part of a larger group of artists working in the area at the time, among them Nam June Paik and Bruce Nauman. Colmer stopped experimenting with paint entirely a few years later and focused his attention on photography and documentary projects.

Roy Colmer was born in London in 1935. Aged twenty, he was conscripted into the British Army and was stationed in Germany. After leaving the military, he studied painting at the Hochschule für Bildende Künste in Hamburg on a full scholarship, where he was taught by professors Almir Mavignier, Eduardo Paolozzi and Georg Gresko. As a student he began a lifelong friendship with Hanne Darboven that resulted in several collaborations. In 1966 he moved to New York where he continued his painting practice and began to experiment with film and photography. From November 1975 to September 1976, Colmer photographed more than 3000 doors, inclusive and in sequence, on 120 intersections and streets of Manhattan from Wall Street to Fort Washington. The project, titled Doors, NYC, became his seminal work, and the New York Public Library acquired a full edition for its archives in 2005. Colmer taught photography at the New School in New York from 1987 to 1995. His paintings and video feedback works were included in ‘High Times, Hard Times: New York Painting 1966-1975,’ a touring exhibition organised and circulated by Independent Curators International from 2006 to 2008. His work Doors, NYC was incorporated in Darboven’s work Kulturgeschichte 1880–1983 (Cultural History 1880–1983), 1980–83, and in 2015, it was exhibited as part of ‘Greater New York’ at MoMA PS1, New York, and in ‘175 Years of Sharing Photography,’ an exhibition from the collection of the New York Public Library.  Colmer was a recipient of the John Simon Guggenheim Fellowship in 1988 and received a grant from the Foundation for Contemporary Performance Art in 1990. The artist died in 2014 in Los Angeles.


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