Andy Pepper Administrator
Hi my name is Cong Keenan and I have been the Creative Director on Medunten Technology. The languages only differ in their grammar, their pronunciation and their most common words
Website URL: http://themesoul.com
Title: Lean
Date: 2014
Materials: Digital hologram and shuttered theatrical spotlight
Size: Hologram H 25.4 x W 20.32cm (10 x 8 inches)
Installation: Gallery floor/wall
Notes: First show in Drawology, Lanchester Gallery, Coventry University, UK.
Mon 26 September - 26 October 2014.
This is the first time Pepper has used a digital holographic production process. The 'image/object' within the holographic plate existed, initially, as a series of 'points' within an online 'cloud' 3-D model system.
The resulting physical hologram, on plastic, was produced as a 'test' towards the end of 2013. A way for Pepper to begin to explore the digital process and locate a 'space' and production method which reflected his earlier spatial 'drawings'.
It reiterated some of the hand-drawn works produced in the late 1980's and early 90's, being made up of multiple, individual, points of lights (which in the digital version are 'hogels' - the equivalent of holographic 'pixels'). There is a direct connection between this digital work and Point Addition, an earlier work using much larger points of light separated into five distinct levels in space.
Like many of Pepper's works, they 'sit' in the studio for long periods before being incorporated into installations, and it was not until the summer of 2014 that this first digital experiment became one of the key elements within the 'Lean' installation.
During the Summer Lodge research residency (an annual event at Nottingham Trent University), Pepper had an opportunity to work with large gallery/workshop spaces incorporating theatrical lighting, and it was during this research in July, that the combination of positioning, lighting and angled display was formulated.
Lean was shown for the first time in Drawology at the Lanchester Gallery, Coventry University, UK.
An act of spontaneous placement, propped up 'on the way' to the gallery wall, yet installed with conviction. The marks become framed by their location and the rectangle of light which makes the work visible.
Vertical Overlap - Drawn Transfer
Sunday, 01 September 2013 Published in Holography Be the first to comment!
Title: Vertical Overlap - Drawn Transfer
Date: 2013
Materials: Reflection holograms on glass, wood, plastic.
Size: 26.3 x 25.4 x 20.3 cm, (10.3 x 10 x 8 inches)
During 1999 Pepper began reducing the size of the holographic elements within his works. Partly as a way of exploring the relative impact the holograms had on the overall work or installation, and partly because of an interest in the 'reduced mark' and a way of working which might be more subtle than the more traditional "poke you in the eye" phenomenon which holography has certainly embraced.
Here, in Vertical Overlap - Drawn Transfer, two vertical reflection holograms on glass face each other as they protrude from a low-fi composite wooden base.
Each contains the pseudoscopic image of the shadow of water - dark marks which undulate and shift as an observer moves past them. These motifs have been used by Pepper in earlier works and are particularly evident in Vertical Liquid Supported (shown in Seoul and New York) and Light Liquid which was included in the Miniments exhibition during 2011.
In both of these earlier works Pepper became increasingly interested in the 'peripheral' view - the moment when the 'content' of the hologram becomes visible or 'winks' out of existence. There are times when the holographic element of the installations is not visible at all - requiring a change of location by the observer until they are at a different viewing angle and the image from the hologram becomes visible.
In this piece that act of 'not seeing' is taken to an extreme. Illuminated by two lights, the images from each hologram are reconstructed in a 'traditional' way and in keeping with the optics of the recorded holograms except their images (dark marks) are reconstructed within the space opposite which is occupied by the other hologram. It is not actually possible to 'see' the holographic images (a slight flash of a mark or light can be seen). The piece is entirely promissory and based specifically on the reconstruction geometry of the holographic process and how that is used for display.
SKYLINES is the first publication by Andrew Pepper available on the iBook store and is currently being distributed internationally in 51 countries.
In the summer of 2006 Pepper began taking photographs of Skylines, the junction between objects and the sky around them.
The first was a spontaneous image taken from a garden in LA, looking back toward the house. Since then images have been collected in the United States, Germany and the UK.
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.
This publication not only showcases the first series of SKYLINE images, taken between 2006 - 2007, but also includes specially produced drawings (made during 2014) based on the images, as well as an animated view produced from slowly fading, overlapping, examples of a significant SKYLINE in Germany.
An earlier version of this ebook was produced and published on the online Issuu platform as an experiment in ways of displaying and distributing some of the background visual research Andrew Pepper had been undertaking. It attracted a large number of visitors and was distributed internationally. In the meantime, Apple's iBooks platform was developed with the opportunity to include rich media (animations, 3-D models, video etc) within ebooks.
In revisiting the original SKYLINES publication it seems an ideal opportunity to redesign the publication and take advantage of these media possibilities. Original digital drawings have been produced in this 2014 edition, based on one of the SKYLINE images taken in Deizisau, Germany, during 2007. Alongside these 'sketches' is an animated sequence combining several views of the same SKYLINE, to explore slowly overlapping images and the 'space' between two visual 'states'.
Further volumes of SKYLINE images are in production.
*periphery
Edited by Aaron Juneau, Jonathan Watts and Harriet Mitchell
YH485 Press, September 2009
Limited to 1000 copies with 50 copies reserved to hold fish and chips in the borough of Great Yarmouth.
This was the first major collaborative publication by YH485 Press who have been working with London based curatorial initiative gymnasium to realise *periphery.
The collaboration is the result of Project Gymnasium initiated for the annual Out There Festival in the seaside town of Great Yarmouth for which three local artists were commissioned to produce moving image works responding to their locale.
The resulting vidoes were shown on a large screen situated along the 'Golden Mile' on Great Yarmouth's seafront. Rather than produce a catalogue relating to these works, gymnasium had in mind a newspaper that would bring together voices from diverse disciplines on one common theme - 'periphery'
Each artist was invited to include an image and text relating to their view of 'periphery.
The limited edition was available from the YH485 Press website and as a 'support' to eat chips out of during September that year!
The publication was be available to buy for £2.00 (free P and P) from the YH485 Press website. There was also be an online version, with extra contributions, availalbe to download from the publications section at YH485 Press.
Artists included in the paper publication are:
On the Edge Research, Jeremy Miller, Alice Carey, Mike Pearson, Rosemary Shirley, Duncan Higgins, Joanne Lee, Lawrence Bradby, Evi Grigolopoulou, Ann Churcher Clarke, Emma Cocker, Ian Hunter, Jo Robertson, Jonny Aldous, Lee Triming, Andrew Pepper, S Mark Gubb, Jennie Syson, Georgina Barnley, David Berridge/Hyun Jin Cho/David Johnson/Pippa Koszerek, Dean Kenning, Exocet, John Plowman, My Villages, Bruce Ayling, Theo Turpin/Frederico Campagna, Fiona Woods, David Reid/Fiona Maclaren, John Newling, Kathleen Coessens/Marie-Francoise Plissart.
Artwork or Network was produced specifically for Rules of the Game, a series of overlapping exhibitions held at the Surface Gallery, Nottingham, during 2007.
Based on a single Internet connected screen and simple set of instructions, it asked the gallery visitor to "leave" the space, find an Internet connected computer and log on to a specified web address.
Once on line participants were asked whether they thought the installation they had seen in the gallery was an 'artwork' a 'network' or neither of these and to select a coloured rectangle to signify their opinion. They also had the opportunity to leave their name, location and a website they would like other people to visit. Finally they were encouraged to invite 5 of their friends to do the same.
As more people took part, so more rectangles became 'occupied'. The image changed on a daily basis and the work was complete as soon as all of the rectangles were 'occupied'.
There were three ways to take part: Visit the Surface Gallery to collect the instructions, hear about the instructions by word of mouth, or by being invited by someone who has already taken part. Much like the process involved in viewing an exhibition or particular work in a gallery.
Social connections 'spread' around the Internet - each person 'digitally' touching the next.
Invitation postcard located next to the installed screen.
