Andrew Pepper

As part of the delivery for first year students on Nottingham Trent University's fine art course a number of 'process' mini-workshops were offered early on in the year.  

Students had not been at the university long and were still in a state of 'adjustment' to academic life and the independent study required by the course.

These workshops offered a rapid taster of possibilities which might be applied to current work or ideas.  They aimed to act as a catalyst or point of departure.

Andrew Pepper offered a Light & Shadow workshop which was made up of 2 two hour practical seminars on a single day.

Session one explored the interception of projected light from 35mm slide projectors in a dark workshop space.

Session two moved out into the relative brightness of the fine art studios and examined the interference of light and marks produced by overhead projectors and object place on them.

As part of the fine art course at the University of Lincoln, UK, staff offer research based elective sessions for students.

These tend to reflect staff research interests and offer a series of practice-based seminars in which students and staff make, explore, experiment and investigate.

Andrew Pepper has delivered several electives within this model.  The most recent covering 4 two hour sessions spread over 4 weeks.

Participants investigate practical and low-tech light projection using 35 mm and overhead projectors.  Luminous marks are projected across the workshop spaces onto existing architecture, flexible and translucent screens, thread, fabric, mist and the participants themselves.

Wall sized projections using overhead projectors and translucent objects.

Images in space - marks captured and made visible in the workshop space.

All images © Electric Egg

Title: Light Support

Date: 1987

Edition: Unique

Materials: Reflection hologram on glass, industrial 'G' clamp.

Size: H14 x W10.5 cm (4 " x 5")

Notes: Produced for the Works for Shelves exhibition held at Kettles Yard Gallery, Cambridge, UK, in 1987.

The works highlights the unseen 'support' usually placed at the back of a photographic frame and used to keep the frame upright.
Here, this support is recorded holographically onto the glass plate it should be supporting.  

This is a visual and theoretical 'support' with no physical validity or mechanical rigour.  For the piece to 'stand upright' it needs some other mechanical support, in this case a metal 'G' clamp which is in clear view.

The holographic 'support' is only visible when light falls onto the glass plate on which it has been recorded. If the light is extinguished does the  support stop supporting?

1987

Kettles Yard, Cambridge, UK.

Part of the University of Cambridge, Kettles Yard Gallery has been 

Artists were invited to produce a small piece of work which would used a shelf as its starting point.

The variety of submissions was wide including paintings, sculpture and construction.

Andrew Pepper showed Light Support, a 5" x 4" reflection hologram plate made specially for the exhibition.

More details about Kettles Yard here.

1989

Interference Gallery, Toronto, Canada.

A collection of wall-based holographic 'drawings', produced over the previous 3-4 years were included in this exhibition as well as works on glass and a site specific light projection.

Installation view with Plane Addition visible at the centre of the image.

8" x 10" reflection holograms with two 5" x 4" (slanted) holographic 'drawings'.

Series of reflection holograms produced between 1988/9

Site-specific corner installation using light from a 35 mm slide projector directed up through a transparent (black) construction to animate line removed from the surface.

The Interference Hologram Gallery was an important supporter of artists working with holography and mounted many solo and group exhibitions to showcase the developing research produced by artists.

Exhibition dates: 17th June - 29th July, 1989.