2023
What happened to creative holography?, Medium.com, July 31
Now is the time to start your art collection, Medium.com, May 21
Is your Hologram a Hoover? Medium.com, March 31
2021
Holography: How Artists Sculpt with Light, Space, and Time, Guggenheim, May 7 2021
2020
Holography A Critical Debate within Contemporary Visual Culture, Andrew Pepper (Ed.)Special Arts Issue, (Vol 8, Issue 3) MDPI, Switzerland, July 2020.
https://doi.org/10.3390/books978-3-03936-227-1
2018
I am here – you are there: let's meet sometime. Alternative Documents special issue, Studies in Theatre and Performance. Taylor & Francis. 38 (Issue 3), pp. 251-266, ISSN 1468-2761
There-Ness, the unsupported mark and its peripheral view. In: 11th International Symposium on Display Holography - ISDH 2018, Aveiro, Portugal, 25-29 June 2018.
Light wedge. In: H.I. BJELKHAGEN and P.M.M. POMBO, eds., Art in holography, light, space & time: catálogo da exposição. Aveiro: University of Aveiro, pp. 20-21. ISBN 9789727895519
Colour holography: perception versus technical reality. In: R. GUENTHER and D. STEEL, eds., Encyclopedia of modern optics. 2nd ed. Oxford: Elsevier, pp. 102-105. ISBN 9780128149829
2017
Five surprising ways holograms are revolutionising the world, www.theconversation.com
2014
SKYLINES, digital publication available on the iBook store, brings together a selection of photographs, specially produced digital drawings and slowly shifting animation.
2013
Memorial, Ruben Nuñez, Holographer.org, January 2012
Memorial, Rudie Berkhout, Holographer.org, February 2009
*periphery, Contributor, YH485 Press, UK, September 2009, pp 16.
2008
The Perception of Reality - Looking at Looking. Holography in the Modern Museum. RPS conference, De Montfort University, Leicester, UK, September 2008
2006
Supporting Creative Holography, The Shearwater Foundation 1987 – 2004, Proceedings, 7th International Symposium on Display Holography, Wales, UK, July 2006.
2005
Art Holography, Encyclopedia of Modern Optics, Elsevier Academic Press, Oxford, UK
2004
Something in the air: Stephen Benton and a ‘family’ reunion, Holographer.org, January 2004, site launch.
2002
Architectural Holography: Building with light, decorating with space, Royal Photographic Society Holography Group Conference on Holography, Art and Design. Royal College of Art, London, UK. 23rd March 2002.
Please note that this paper includes 22 illustrations and will therefore take some time to load into your browser.
2001
CFR, Kilroy and the Luminous Pencil, Style is Fraud - Carl Fredrik Reuterswärd, Bokförlaget Arena, Sweden, PP104-109, ISBN 91-7843-187-5,
Building with Light: Holography, glass and architecture. This Side Up, No.,15, September 2001, pp 2-4 ISSN 1389 1707.
2000
Windows with memories: Creative holography in the real world. This Side Up, No.,10, June 2000, pp15-18. ISSN 1389 1707.
Archiving a Creative History: Holography for a future generation. Holography 2000, St. Pölten, Austria.
SPIE proceedings, Volume 4149, pp 287-292,
1998
Holography - A Digital Community on the Internet. The Royal Photographic Society Holography Group.
One Day Conference on Holography and 3D Displays: New Materials and Techniques. London, UK.
1997
The National Holographic Centre England: Proposal report. 6th International Symposium on Display Holography, Lake Forest College, Lake Forest, USA, SPIE proceedings Volume 358.
Artists in Conference - An international perspective. 6th International Symposium on Display Holography, Lake Forest College, Lake Forest, USA (co-author with D.E. Tyler), SPIE proceedings Volume 3358.
1996
Holography on the Internet: a useful resource or expensive distraction?, Practical Holography 10, San Jose, California, USA, SPIE proceedings, Volume 2652.
Seeing Things: Australian Holographic Art, Convergence, Journal of Research into New Media Technologies, John Libbey Media, Spring, Vol 2, No1, pp145 - 147.
1995
Holography as Large-Scale Event, Solart Global Network (Jürgen Claus editor), Leonardo, MIT Press, USA, Vol. 28, No. 3, pp 234.
Where is the Art?, Karas Tiny Magazine, Karas Studios, Madrid, Spain, December, pp3.
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1994
The art of collaboration: a conflict of disciplines or constructive relationship, 5th International Symposium on Display Holography, Lake Forest College, Lake Forest, USA,(co-author with Eric P. Krantz), SPIE proceedings, Vol 2333, pp 247 - 254.
Single exposure color mixing technique for rainbow "shadow" holograms, Practical olography 8, San Jose, California, USA (co-author with Eric P. Krantz), SPIE Proceedings.
Beyond the Gallery Ghetto. The Creative Holography Index, The International Catalogue for Holography, Monand Press, Bergisch Gladbach, Germany, Vol 2, issue 2.
1993
Cataloguing creative holography: an historical necessity or contemporary illusion?, Quebec International Symposium on Holography, Quebec, Canada, SPIE Proceeding.
A single beam recording system for creative holography and education, Quebec International Symposium on Holography, Quebec, Canada, SPIE Proceedings.
1992
Qué piensa usted, José Buitrago, ARCO catalogue ,Videoarco '92, Madrid, Spain.
1991
Creative Holography: Its Development in the Academy of Media Arts Cologne, Germany, International Symposium on Display Holography, July , Lake Forest, IL, USA, (Co-author with Dieter Jung), SPIE Proceedings Vol,1600.
1990
A Strength of Purpose: The International Congress on Art Holography, (re)Mark, September 1990, No 1.
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1989
Holographica Pulls the Crowds, Holographics International, Spring 1989, No 5, pp 19-20.
Display Holography in the UK: An Overview, Holographie-Jahrbuch/Holography-Yearbook 1989-90, pp 1. 65-1. 69.
HoIographic Space: A Generalised Graphic Definition, Leonardo Journal, Holography as an Art Medium, Special issue. Vol 22, No 3 & 4, pp 295-298.
1988
Drawing in Space: A holographic system to simultaneously draw images on a flat surface and in three-dimensional space. PhD Thesis, Department of Fine Art, University of Reading, UK.
New Design For Holographic Camera, Holosphere, Fall, Vol 15, No 3, p 11.
School of Holography in LA., Holosphere, Fall, Vol 15, No 3, p 29.
Holography, Visual Medium or Cheap Trick? Art Monthly, December/January 1988/89, No 122, pp 9-13.
1987
Expansion of Holographic Film Products, Holosphere, Spring, Vol 15, No 1, pp 12-13.
1986
Holography: The History of the Word, Holosphere, Winter, Vol 14, No 1, p 11.
Hologrems Invade Britain, Holosphere, Spring, Vol 14, No 2, p 23.
Beyond Horror, Real Image, Royal Photographic Society Holography Group, Summer, No. 3, pp 9-10.
Holographic Illustration Becomes Reality, Holosphere, Fall, Vol 14, No 4, p 11.
1985
Holography in Publishing, Holosphere, Summer, Vol 13, No 3, p 6.
Holography: Treasures of the USSR, (Publication editor), Exhibition catalogue, Light Fantastic, July.
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1984
Storage Solutions for Orthodontics, Holosphere, Winter, Vol 12, No 6, p 45.
Design Council Highlights Embossing, Holosphere, Spring, Vol 12, No 7, pp 12-13.
German Museum Celebrates 5th Anniversary, Holosphere, Fall 1984/Winter 1985, Vol 13, No 1, pp 9-10.
Advanced Courses Begin in England, Holosphere, Fall 1984/Winter 1985, Vol 13, No 1, p 29.
Holography for Children, Holosphere, Spring, Vol 13, No 2, p 18.
Market Widens for Film Holograms, Holosphere, Spring, Vol 13, No 2, p 22.
Holographie in England: Der Aufstieg eines Künstlerischen Mediums, Licht-Blicke exhibition catalogue, Deutsches Filmmuseum,June.
Introduction, Canadian Holography Now, Exhibition catalogue, Canadian Cultural Centre, London, June.
1983
Light Impressions to Expand its Impact within London Subsidiary, Holosphere, January, Vol 12, No 1, p 4.
"Holographic" Telephones Tested in Britain, Holosphere, February, Vol 12, No 2, pp 3-6.
Holographic Album Cover Released in Britain, Holosphere, Spring, Vol 12, No 3, pp 1-2.
Display Holography: Making Inroads in Britain, Holosphere, Fall, Vol 12, No 5, pp 18-20.
Holographic Viewing Made Simple, Holosphere, Fall, Vol 12, No 5, pp 18-22.
1982
Edwina Orr Explores for Temporal Sculptural Works, Holosphere, January, Vol 11, No 1, pp 4-5.
Works in Flux by Sam Moree, Holosphere, February, Vol 11, No 2, pp 3-4.
Van Riper to Exhibit/Perform at Museum of Holography, Holosphere, February, Vol 11, No 2, pp 4-5.
Holograms of Rebecca Deem, Holosphere, March, Vol 11, No 3, p 4.Schweitzer Residency Shows AIR Woes, Holosphere, May, Vol 11, No 5, pp 5-7.
Margaret Benyon's Pulsed Rainbows, Holosphere, June, Vol 11, No 6, pp 4-6.
Ruben Nunes: Twentieth Century Renaissance Man, Holosphere, July/August, Vol 11, No 7,8, pp 6-8.
Doug Tyler's Art of Simplicity, Holosphere, September, Vol 11, No 9, pp 4-5.
Perceptions of Holography: A new medium using old tricks, Holosphere, October, Vol 11, No 10, pp 1-6.
Book Review - Space Light and Holography Handbook, New Scientist, October 21st, p 185.
Holographic Teaching Becomes Commonplace, Holosphere. November, Vol 11, No 11, pp 3-4.
Holography in Education, Holosphere, December, Vol 11, No 12, pp 2-3.
Can holograms open the way to new wave ads? Campaign, December 9th 1983, pp 35-37.
1981
Kinetic Light Art: Continuous 3-dimensional luminous images projected on rapidly rotating strings, Leonardo Journal of Contemporary Visual Artists, Summer, Vol 14, No 3, pp 208-209.
1980
Rudie Berkhout: Artist/Scientist, Holosphere, Journal of Holographic Science, Technology and Art, November, Vol 9, No 11, pp 3-4.
Bruce Goldberg and Wilfred's Window, Holosphere, December. Vol 9, No 12, p 6.
Hlynsky and Sowdon, Making Art on the Fringe, Holosphere, May, Vol10, No 5, pp 1-3.
AIR Profile: John Perry, University of Vermont, Holosphere, October, Vol 10, No 10, pp 3-4.
AIR Profile: Holograms and Stained Glass - Scott Nemtzow, Holosphere, November, Vol 10, No 11, p 5.
Walter Spierings and the Impossible Triangle, Holosphere, December, Vol 10, No 12, pp 2-3.
Top
1979
Kinetic art: 3-dimensional luminous images projected into volumes of smoke (Pentrojection).
Leonardo , Autumn, Vol 12, No 4, pp 283-289.
Andrew Pepper studied Fine Art in the UK, where he began working with projected light and 3-D light installations. During this period he saw his first hologram in Paris, at an exhibition organised by Jody Burns and Posy Jackson, at the American Cultural Centre, in the City. With an eye on applying for postgraduate study, and needing a portfolio which accurately represented his current work, he felt that this visual technique would be the ideal process to document his light and projection installations in 3-D.
Accessing holography proved to be more challenging than he expected and he reverted to video and photography as a documentary process for his postgraduate applications. After securing a place on the MFA course at the University of Reading, where he continued to research spatial mark-making and projected light installations, he moved to New York and spent 2 years at the Museum of Holography, in Manhattan, as a Fulbright Scholar. It was there that he learned how to make holograms at New York Holographic Labs. It was some time before he felt comfortable using the medium - wanting to find an alternative to the basic (but impressive) 3-D effect which had originally attracted him to the medium.
When he returned to the UK in 1982 he began lecturing and writing on creative holography and starting to produce his own work, which has now been exhibited in solo and group shows worldwide. He also completed a Ph.D. in Fine Art Holography, the first to be awarded by the Fine Art Department of the University of Reading and an early example of a practice-based Ph.D. Based on this early research and current practice he has acted as external supervisor for a number of key Ph.D'.s exploring the creative and critical use of holography within the visual arts.
In 1988 Pepper was awarded a Lionel Robbins Memorial Scholarship which allowed him to continue his Ph.D. research and carry out extensive exploration in a specially built holography studio at the University of Reading.
In 1991 he moved to Cologne to take up a 5 year post with the newly established Academy of Media Arts which, as part of its studio activities, was offering Holography within its media arts department.
During this time in Germany, he was able to realise a project he had been working on for several years earlier and founded the Creative Holography Index, The International Catalogue for Holography, which provided a very high-quality collection of material about artists working in the medium, as well as commissioning several leading writers to give their views on the development of the field.
While at the Academy he was introduced to the Internet and World Wide Web and eventually began to ‘translate’ the paper publication into a digital one, making it accessible to a much wider audience. He has remained interested in this idea of digital publishing and delivered several papers on the subject at international conferences.
In 1996 he moved back to the UK to organise and co-chair Art in Holography2, a major international symposium, at the University of Nottingham, which attracted speakers and delegates from all over the world to examine, and place pressure on, the creative and critical engagement by artists using holographic processes.
From 1999 - 2004 he directed the Shearwater Foundation Holography program, established by Posy Jackson in 1987. Each year it provided 100,000 US Dollars to support and encourage creative holography, as well as honouring several artists with the annual Holography Award, given to outstanding practitioners in recognition of their major contribution to the field.
During 2007- 2009 he directed the International Holography Fund, established to fill the gap left by the Shearwater Foundation which, during its short operational life, supported a wide range of creative holography projects worldwide.
Pepper spent over two decades as a visiting lecturer in Fine Art at Nottingham Trent University, moving to positions as full-time senior lecturer and Head of First Year in Fine Art. He maintains a particular interest in the transition into university life with particular emphasis on the challenges encountered by new students starting their academic journey in fine art. He was an admissions tutor (international and none standard applications) and trained as an advanced personal tutor. He taught fine art for several years at the University of Lincoln and has contributed to professional development modules in Fine Art at the University of Nottingham, Nottingham Trent University's Hive Start To.. and Summer School courses.
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