Bonington Gallery, Nottingham Trent University, School of Art and Design, Nottingham, UK.
A group exhibition on the theme of 'Archipelago'.
Staff from Nottingham Trent University's School of Art and Design, were invited to submit proposals featuring experimental practice from a range of art and design disiplines.
Artists were asked to consider themselves and their practice as islands. An island may be the work of one practitioner, that of an established collaboration, or a group brought together by common concerns.
Tizio Water
This small rectangle of 'ground' inverts the normal impression of an archipelago - here the holographic shadow of liquid is the defining terrain, edged by the junction between the glass holographic plate and the surrounding solid architecture (the gallery floor).
Approached from a distance, the black crane-like structure of a Tizio table lamp (a recognisable and practical design classic), offers a graphic and defined 'point to view from'. It is, in a way, instructional - guiding the viewer to an observation point. Its light precisely directed down onto a holographic rectangle which appears black and flat from a distance.
One aim of the installation is to interrogate the symbiosis between the historic 'found' object (recognised, celebrated and archived in major international art and design museums) and the 'historic' holographic recording (unknown, displaced and functionless). The latter is made visible by the presence of the former.
Exhibition dates: 16th January - 12th February
2014
Bonington Gallery, School of Art and Design, Nottingham Trent University, Nottingham, UK.
Celebrating its 170th anniversary, Nottingham Trent University's School of Art & Design brought together artworks by more than 100 former students to illustrate the impact of the school on the visual arts and creative industries nationally and internationally.
The exhibition took place across the University’s City site and featured a wide range of work from Turner Prize winner Simon Starling, artist duo Tim Noble & Sue Webster, David Bachelor, Hetain Patel, Nigel Cook, Jon Burgerman and many more…
Film, video, holography, performance, installation, painting, sculpture, photography, illustration, design.
Andrew Pepper, a graduate of Nottingham Trent Fine Art, showed two reflection holograms; Corner Level and Centre Level.
A podcast, the first to be produced by the Bonington Gallery, is hosted by Professor Terry Shave and acts as a guide through the exhibition. Andrew Pepper's works are mentioned towards the end of the tour.
The video below, produced by the Bonington Gallery, highlights the exhibition opening. It can also be found in the Video Gallery.
Exhibition dates: 8th January - 7th February, 2014.
2012
Gallery 286 London, UK.
A selection of abstract holograms, by British & American artists from the 1980s and 90s.
This exhibition of work from the Ross Collection brought together some of the key artists working with holography and showcased clasic work produced in the 1980's and 90's
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| Square Eclipse 1989 Reflection hologram on glass Details |
6 Lines Folded 1989 Reflection hologram on glass Details |
Two works from the Ross collection by Andrew Pepper were included, both produced during his doctoral research period at the University of Reading,UK.
Made with support from the Lionel Robbins Memorial Scholarship.
A video of the installation is available here.
More details about Pepper's work in the Ross Collection here
Exhibition dates: 3rd - 10th May 2012
2012
Call and Response, The Broadcaster, The Postmethodist, Reading Room & Chapel, Wellingore, Lincolnshire, UK.
A number of artists were invited to make small announcement cards for either a 'call' or a 'response' for display in the Broadcaster exhibition cabinets, Wellingore, Lincolnshire.
Taking as its cue the spontaneity of ‘lost cat’ and ‘found cat’ notices appearing in the same newsagent window often referring to the same cat. The project seeks to exemplify the circularity of exchanges in the everyday. As both the Call and Response are created in isolation this creates an element of chance imbuing the project with the potential for a call, created by one artist, to unwittingly match a response from another or vice versa. Thinking beyond the context of the newsagent window artist were ask to create a call in which the subject matter and form for either the call or response was totally at their discretion. The only proviso being that it must fit on the plain side of a blank postcard.
Andrew Pepper produced "Found - Small Hole, Lost drawing" incorporating a laser cut 'drawn' hole' on/in watercolour paper.
More details about the Broadcaster series of exhibitions here.
Exhibition images © Danica Maiers 2012
Exhibition dates: 21 June - 20th September 2012
2011
Garden of Light
Gallery 175, Seoul, Korea.
A group exhibition selected by Juyong Lee with work by: Andrew Pepper, Setsuko Ishii, Paula Dawson, Julius Pileckas, Juyong Lee, Jaeeon Byun, Ray Park, David Warren, Sunhee Joo, Bokyung Jung, Martina Mrongovious, Boyang An and Pearl John.
Holography suffers from a pretense - being something it is not.
The spectacle of its cleverness is often softened through its presentation to the viewer, framed to make it more like 'traditional', acceptable and familiar visual works.
Some of my earlier pieces have attempted to interrogate that 'acceptable' mode of display and place holographic images, raw and unframed, in spaces and environments where other methods of support become integral to the installation.
Vertical Liquid Supported strips down the visual mechanics of holography to its basics. The image of the shadow of liquid protrudes slightly beyond the surface of the rectangular glass plate - a tentative insurgence into the viewers' domain (your space).
There has been human intervention in the form of a swiped finger mark curving across the centre of the piece which disturbs the liquid and recording process, moving it slightly 'away' from an analytical demonstration.
These marks are manifest entirely through the technical process of holographic recording. Shadows of liquid cannot exist, unsupported, in 'our space', yet they have an elegant familiarity reminiscent of marks on fogged and condensated windows. The rectangular holographic plate is exposed in its entirety, unframed, and held vertical by use of an industrial 'G' clamp.
The clamp is 'worn' and has been used to support other materials during domestic and sculptural constructions. Here it 'holds' the glass sheet so that it can be viewed from a variety of angles and positions. Unlike many holographic works, there is no desired 'viewing zone'. At points the liquid shadows are visible but they fade away from view as an observer moves round the piece. Looking at the piece from the back, or from directly above, is as valid as when the content of the hologram is visible.
Ways of looking should not always be held ransom to the medium we are asked to look at.
Andrew Pepper
September 2011
Installation view at Gallery 175
Image Juyong Lee
Exhibition dates 1st - 18th November, 2011