After some months he studied in other academies and private studios in Denmark, Germany, France, and Italy, and traveled extensively in Europe and North Africa.

In 1936, Fredericks won a competition to create the Levi L. Barbour Memorial Fountain on Belle Isle in Detroit.

[1] After World War II, the sculptor worked continuously on his numerous commissions for fountains, memorials, free-standing sculptures, reliefs, and portraits in bronze and other materials.

A similar casting is on display in the children's room of the Grosse Pointe Public Library and at the Frederik Meijer Gardens and Sculpture Park in Grand Rapids.

Since then, a 65-foot (20 m) crucifix was erected in the cemetery of St. Thomas Catholic Church hear Bardstown, Kentucky, however the Corpus on this work is only 14 feet (4.3 m) in height.

The Freedom of the Human Spirit was originally sculpted for the 1964 World's Fair in New York City and stood in the Court of States.

Fredericks is quoted explaining the Freedom of the Human Spirit: "I tried to take the male and female figures and free them from the earth.

The only reason they stand up in the space at all is because they are suspended by sort of semi-visible abstract forms that keep them in the air, and then there are three giant wind swans flying with them.

This sculpture was moved in 1996 to the plaza adjacent to Arthur Ashe Stadium at the USTA Billie Jean King National Tennis Center in New York City.

In 1983, Fredericks donated a casting of the work to his adopted home of Birmingham, Michigan for that city's fiftieth anniversary.

Fredericks sculpted the gazelle in a characteristic movement called wheeling, which is when an animal quickly changes direction while being pursued by a predator.

It can be found at numerous locations, including Brookgreen Gardens in South Carolina where it was one of four Purchase prize winners of a nationwide open sculpture competition in 1972.

The lion's reclining position and his crossed legs are very human-like, yet his huge round head is stylized with uniformly coiled ringlets and his knees are abstracted.

When Fredericks was a teenager his inspiration was Lord Byron, the nineteenth-century Romantic poet who became associated with a haughty, melancholy mood.

Fredericks presents Lord Byron in a dramatic pose with his head thrown back and hand raised to his forehead.

Fredericks captured this aspect of Byron's personality by posing him draped in a long cape which partially conceals his legs.

He is seated upon a 10-foot (3.0 m) sphere, encrusted with a multitude of stars of various magnitudes set in a pattern of the bright-star constellations of the celestial system.

The dynamic spiral orbit-form swirling around the sphere represents the speed and perpetual movement of the heavenly bodies in space.

Play of the water in a spiral pattern from numerous star-shaped sprays is intended to increase the feeling of movement upon the figure, sphere, and orbit.

According to Fredericks, the sculpture "represents this age of great interest, exploration and discovery in outer space...[and] the immensity, order and mystery of the universe."

Fredericks also created a gold anodized aluminum Sculptured Clock on the building that was completed in 1957, two years before the fountain's installation.

In keeping with a long tradition in western art, the sculptor personified time with figures representing night and day.

Day rests upon an otter, hunting among a school of Northern pike and Night floats upon a swan in flight, holding a small bird in her hand.

[8][9] Fredericks created this sculpture after George Gough Booth, the founder of Cranbrook Educational Community, asked him to make a "Thinker" for the steps of the Cranbrook Art Museum similar to Auguste Rodin's renowned The Thinker, a cast of which is at the entrance of the Detroit Institute of Arts.

He maintained studios at 4113 North Woodward Avenue in Royal Oak and on East Long Lake Road in Bloomfield Hills until his death.