Andrew Pepper

Light Wedge

A floor mounted installation made up of dichromate gelatine holograms supported by a wooden wedge. Produced in collaboration with August Muth, the Light Foundry, Santa Fe, New Mexico, USA. Originally shown in Art in Holography: Light, Space & Time at the Aveiro City Museum, Portugal, 6th June – 30th September 2018. The exhibition coincided with the 11th International Symposium on Display Holography, held at the University of Aviero – Light Wedge was shown in two versions. The initial floor installation incorporated two plates and wedge and was displayed for the duration of the symposium.  For the remainder of the exhibition (until September 30th) a single plate lifted slightly from the gallery floor by the wooden wedge, was shown.

Three – Nine

Date

2016

 

Materials

35mm slide + projector, gallery plinths, illuminated wall, digital reflection hologram

 

Size

Gallery Installation

 

Notes

Developed from explorations initiated in the Summer Lodge 2015 residency at Nottingham Trent University. 29th June – 10th July 2015. Subsequent staging and testing at Primary Studio’s Film Free and Easy, October 2015.

Artist Biography

Andrew Pepper is an artist and lecturer in fine art. His work examines a visual and critical sensitivity to the unsupported line, marks in space and our visual/physical engagement with apparent three-dimensional volumes.  He ‘draws’ in space. As a Fulbright Scholar and Lionel Robbins Memorial scholar, he has examined the practical development, and cultural impact, of creative holography through his work in the medium and that of critical practitioners and activists in the field.

His Ph.D. was the first to be awarded by the department of fine art at the University of Reading, UK,  and one of the early examples of a practice-based doctorate where holograms were accepted as the critical ‘thesis’ for his submission. He has subsequently been an external examiner for several key PhDs in the field of creative holography. 

His engagement with the creative and critical aspects of drawing in space, and holography, have been developed through exhibitions, writing (Leonardo, Art Monthly, The Encyclopedia of Modern Optics), conferences, teaching, curating, publishing and as director of two funding organisations which focused on supporting the international development of creative holography. As an invited editor for the Arts journal special issue “Holography—A Critical Debate within Contemporary Visual Culture” he has brought together texts by artists, makers and curators who examine, and place pressure on, the critical discussions around creative holography.

The development of works shown in the Documents, Alternatives series of exhibitions is discussed in: The Gallery as a Location for Research-Informed Practice and Critical Reflection, Arts 2019, 8(4), 126

Andrew Pepper

Light Wedge

A floor mounted installation made up of dichromate gelatine holograms supported by a wooden wedge. Produced in collaboration with August Muth, the Light Foundry, Santa Fe, New Mexico, USA. Originally shown in Art in Holography: Light, Space & Time at the Aveiro City Museum, Portugal, 6th June – 30th September 2018. The exhibition coincided with the 11th International Symposium on Display Holography, held at the University of Aviero and Light Wedge was shown in two versions. The initial floor installation incorporated two plates and wedge and was displayed for the duration of the symposium.  For the remainder of the exhibition (until September 30th) a single plate lifted slightly from the gallery floor by the wooden wedge, was shown.

Three – Nine

Date

2016

 

Materials

35mm slide + projector, gallery plinths, illuminated wall, digital reflection hologram

 

Size

Gallery Installation

 

Notes

Developed from explorations initiated in the Summer Lodge 2015 residency at Nottingham Trent University. 29th June – 10th July 2015. Subsequent staging and testing at Primary Studio’s Film Free and Easy, October 2015.

Artist Biography

Andrew Pepper is an artist and lecturer in fine art. His work examines a visual and critical sensitivity to the unsupported line, marks in space and our visual/physical engagement with apparent three-dimensional volumes.  He ‘draws’ in space. As a Fulbright Scholar and Lionel Robbins Memorial scholar, he has examined the practical development, and cultural impact, of creative holography through his work in the medium and that of critical practitioners and activists in the field.  His Ph.D. was the first to be awarded by the department of fine art at the University of Reading, UK,  and one of the early examples of a practice-based doctorate where holograms were accepted as the critical ‘thesis’ for his submission.  He has subsequently been an external examiner for several key PhDs in the field of creative holography.

His engagement with the creative and critical aspects of drawing in space, and holography, have been developed through exhibitions, writing (Leonardo, Art Monthly, The Encyclopedia of Modern Optics), conferences, teaching, curating, publishing and as director of two funding organisations which focused on supporting the international development of creative holography. As an invited editor for the Arts journal special issue “Holography—A Critical Debate within Contemporary Visual Culture” he has brought together texts by artists, makers and curators who examine, and place pressure on, the critical discussions around creative holography.

The development of works shown in the Documents, Alternatives series of exhibitions is discussed in: The Gallery as a Location for Research-Informed Practice and Critical Reflection, Arts 2019, 8(4), 126

Exhibition Archive

Andrew Pepper

Light Wedge

A floor mounted installation made up of dichromate gelatine holograms supported by a wooden wedge. Produced in collaboration with August Muth, the Light Foundry, Santa Fe, New Mexico, USA. Originally shown in Art in Holography: Light, Space & Time at the Aveiro City Museum, Portugal, 6th June – 30th September 2018. The exhibition coincided with the 11th International Symposium on Display Holography, held at the University of Aviero and Light Wedge was shown in two versions. The initial floor installation incorporated two plates and wedge and was displayed for the duration of the symposium.  For the remainder of the exhibition (until September 30th) a single plate lifted slightly from the gallery floor by the wooden wedge, was shown.

Three – Nine

Date

2016

 

Materials

35mm slide + projector, gallery plinths, illuminated wall, digital reflection hologram

 

Size

Gallery Installation

 

Notes

Developed from explorations initiated in the Summer Lodge 2015 residency at Nottingham Trent University. 29th June – 10th July 2015. Subsequent staging and testing at Primary Studio’s Film Free and Easy, October 2015.

Artist Biography

Andrew Pepper is an artist and lecturer in fine art. His work examines a visual and critical sensitivity to the unsupported line, marks in space and our visual/physical engagement with apparent three-dimensional volumes.  He ‘draws’ in space. As a Fulbright Scholar and Lionel Robbins Memorial scholar, he has examined the practical development, and cultural impact, of creative holography through his work in the medium and that of critical practitioners and activists in the field.  His Ph.D. was the first to be awarded by the department of fine art at the University of Reading, UK,  and one of the early examples of a practice-based doctorate where holograms were accepted as the critical ‘thesis’ for his submission.  He has subsequently been an external examiner for several key PhDs in the field of creative holography.

His engagement with the creative and critical aspects of drawing in space, and holography, have been developed through exhibitions, writing (Leonardo, Art Monthly, The Encyclopedia of Modern Optics), conferences, teaching, curating, publishing and as director of two funding organisations which focused on supporting the international development of creative holography. As an invited editor for the Arts journal special issue “Holography—A Critical Debate within Contemporary Visual Culture” he has brought together texts by artists, makers and curators who examine, and place pressure on, the critical discussions around creative holography.

The development of works shown in the Documents, Alternatives series of exhibitions is discussed in: The Gallery as a Location for Research-Informed Practice and Critical Reflection, Arts 2019, 8(4), 126

Exhibition Archive

Exhibition Archive