Andrew Pepper

The Artist Support Pledge is an initiative on Instagram which supports artists to show their work and sell it to an international audience.

The idea is a simple one, artists post images of their artwork on social media to sell for NO MORE (can be less) than £220 ($220, €220, A$330, C$330, ¥22000) each, not including shipping. Anyone can then buy the work. Every time you reach £1100 ($1100, A $1650, C $1650, ¥110,000) in sales, you pledge to buy another artist’s work for £220.

Thousands of artists have sold original works as part of the 'Pledge' and in turn purchased works from other artists.  A wide range of media, styles and approaches is represented as part of the 'Pledge' and physical gallery exhibitions have begun to be organised to showcase some of the works in their original form.

In July 2023 Andrew Pepper produced a limited edition for the Artist support pledge.

Title: Deizisau 2007 (ASP)
Date: 2023
Artist: Andrew Pepper
Size: 30 x 40 (Portrait)
Material: High-definition photograph on matt metal
Edition: 10

Price: £155. Free P&P in the UK.

To purchase a work from this edition, or request details of postage costs outside the UK,  please email This email address is being protected from spambots. You need JavaScript enabled to view it., send a direct message on Instagram www.instagram.com/andypepperuk/ or scan the QR code below:

Printed onto a thin matt metal surface which stands 8mm proud of the wall.

Skylines - An ongoing series of images began in 2006 in an attempt to explore the junction between objects (mostly architecture) and a blue sky.

I continue to be fascinated by that line/junction.

The basis for taking each photograph has remained constant:  The sky must be blue and there should be an apparent line between the object and the sky.

The expanding collection of images has remained digital (except for small research prints onto photo paper).   In 2023 I began exploring ways to present them in a more tangible/physical manner.  Printed photographs always felt 'lacking' in some way.  They made me 'uncomfortable.

Printing onto metal appears to emphasise a strange robustness I wasn’t expecting. Something more than a digital print. Something less than an object.  There is a structural 'reinforcement' caused by the visibility  of the 3mm structure protruding from the display surface.

A digital book available on Apple Books (published in 2014),  brings together the early part of the series and includes animated drawings to accompany the still images.

What happened to creative holography?

It was the future — it was bright — it would revolutionise the art world. 
It was described as the Ultimate Visual!
So, what happened to it, where did it all go? Did it die?

No!

In 1988, I wrote an article for the British Arts magazine, Art Monthly: “Holography, Visual Medium or Cheap Trick?”, where I attempted to explore the state of holography and its use by artists. I didn’t feel, looking at the evidence, that it was a cheap trick, but a clear opportunity for artists to develop work and ideas. Thirty-five years later, I’m still of that opinion. It does, however, seem to have gone a little ‘quiet’.
So what happened?

Read the full article on Medium.com

Deizisau 2007
30 x 40 Digital print onto metal

Printed onto a thin matt metal surface which stands proud of the wall.

Skylines - An ongoing series of images began in 2006 in an attempt to explore the junction between objects (mostly architecture) and a blue sky.

I continue to be fascinated by that line/junction.

The basis for taking each photograph has remained constant:  The sky must be blue and there should be an apparent line between the object and the sky.

The expanding collection of images has remained digital (except for small research prints onto photo paper).   In 2023 I began exploring ways to present them in a more tangible/physical manner.  Printed photographs always felt 'lacking' in some way.  They made me 'uncomfortable.

Printing onto metal appears to emphasise a strange robustness I wasn’t expecting. Something more than a digital print. Something less than an object.  There is a structural 'reinforcement' caused by the visibility  of the 3mm structure protruding from the display surface.

A digital book available on Apple Books (published in 2014),  brings together the early part of the series and includes animated drawings to accompany the still images.

Light Wedge, 2018 – present
Two glass holographic plates (drawings), physical wooden wedge.

We intrinsically ‘understand’ how drawings in our world function.  They are stable and attached to their picture plane.  What happens when that drawing is moved off the surface, and what does it become? It is neither a drawing, a photograph, or physical object.

In Light Wedge, a ‘drawn’ representation of a wooden wedge occupies a ‘place’ between the glass ‘picture’ surface and the observer. The light in the holograms is from 2018, when the drawings were recorded. Light from the physical wedge is from 2022 (or whenever the installation is viewed).

Light Wedge was selected from over 300 entries for inclusion in the 2022 New Art Exchange Open exhibition.

Gallery installation

Wedge detail

The exhibition opens on 10th June 2022 and continues until 3rd September
Gallery open Tuesday – Saturday 10am - 4pm

www.nae.org.uk/exhibition/nae-open-2022/191

Light Wedge 2018 was produced at the Light Foundry, Santa Fe, New Mexico, USA in collaboration with artist August Muth.

Andrew Pepper has been included in the New Art Exchange 2022 Open exhibition.

The juried selection, from over 300 submitted works, reflects the diversity of practices and approaches from Nottinghamshire based artists and Global Majority artists living in the UK.

Andy will be showing, for the first time in the UK, Light Wedge, an installation incorporating holographic drawings.

More details about the work here.

More details about the New Art Exchange Open installation here.

The exhibition opens on 10th June 2022 and continues until 3rd September
Gallery open Tuesday – Saturday 10am - 4pm

www.nae.org.uk/exhibition/nae-open-2022/191

Artists selected for the NEA Open 2022 are:

• Mohamad Aaqib Anvarmia

• Jessica Ashman

• Tristram Aver

• Sayra Begum

• Adonia Bouchehri

• Roisin Bourke

• Jarvis Brookfield

• Shaista Chishty

• Clare Chun-yu Liu

• Rosie Deegan

• Neequaye Dreph Dsane

• Grace Eden

• Tim Fowler

• Enam Gbewonyo

• Gisou Golshani

• Suman Gujral

• Hannaa Hamdache

• Arthur Hsu

• Henrique J. Paris

• Seungjo Jeong

• Sabine Kaner

• Sumuyya Khader

• Day Eve Komet

• Sahjan Kooner

• Olana Light

• Rudy Loewe

• Jas Lucas

• Jeneé Marie

• Fungai Marima

• Delores Oblitey

• Andrew Pepper

• Daniel Rapley

• Benjamin Rostance

• Shannon Scherer

• Janhavi Sharma

• Chiemi Shimada

• Saintly Amok

• Jamal Sterrett

• Hope Strickland

• Arushee Suri

• Kim Thompson

• Vernon Tong

• Zheni Warner

• Honey Williams

• Kenizzi Yamalimbu

Andrew Pepper will be speaking at Nottingham Contemporary as part of the Liveness: Creative Work and Presence in Physical and Digital Spaces event, Andrew Pepper will be discussing the significance of liveness in the process of making and staging artworks within exhibitions, with artist and educator Professor Angela Bartram.

Thursday 27th April 2022

The event includes panel discussions by artists, educators, curators and musicians exploring Liveness.

Participants include: Niki Harman, Jack Benjamin, Louise O’Connor, Wingshan Smith, Lila Matsumoto and Matthew Hamblin, Tim Hutchings, Angela Bartram, Andrew Pepper and Paul Hegarty.

To coincide with Deana Lawson's solo exhibition at the Guggenheim Museum, New York, a text, which looks at how artists work with holography, has been published on the Guggenheim Website.

More details here.

Commissioned by the Solomon R. Guggenheim Foundation, this text provides an overview of how artists have embraced holography within their practice.  It was published to coincide with Deana Lawson's solo exhibition at the Guggenheim Museum, New York,  in which she included holograms alongside her photographic work.  The exhibition ran from May - October 2021.

Holography: How Artists Sculpt with Light, Space, and Time

Special Arts issue edited by Andrew Pepper and Published by MDPI, Basel, Switzerland.

As part of MDPI's Arts publication, Andrew Pepper was invited to guest edit this special issue which deals with critical observations about the use and development of holography within visual arts and vulture.

Holography A Critical Debate within Contemporary Visual Culture. 

A wide range of practitioners, artist, curators and observers have contributed chapters to the book in which they place critical presure on their own work or consider the inclusion of works with holography in cutlural venues.

Availabel as a hardback publication, which can be ordered directly from the publishers here,

a free PDF version which can be downloaded here

and as an online publication here.

A new book, edited by Andrew Pepper, published by MDPI Switzerland

Holography A Critical Debate within Contemporary Visual Culture, brings together key artists, curators and observers to offer a critical reflection on the development of holography in the visual arts.

Published by MDPI Switzerland, it is available in hardback or as a free PDF download.

More details here