Andrew Pepper

Three works from the late 1980s & early 1990s are on show at Centro de Holografía y Artes Dados Negros, Spain from 11 May until 8th September 2024.

Artists include:

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.