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Andrew Pepper

Writing (4)


Tuesday, 01 September 2009 Published in Writing Written by Be the first to comment!

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.


Special Arts issue edited by Andrew Pepper and Published by MDPI, Basel, Switzerland.


As part of MDPI's Arts publication, Andrew Pepper was invited to guest edit this special issue which deals with critical observations about the use and development of holography within visual arts and vulture.

Holography A Critical Debate within Contemporary Visual Culture. 

A wide range of practitioners, artist, curators and observers have contributed chapters to the book in which they place critical presure on their own work or consider the inclusion of works with holography in cutlural venues.

Availabel as a hardback publication, which can be ordered directly from the publishers here,

a free PDF version which can be downloaded here

and as an online publication here.

ISBN 978-3-03936-226-4 (Hbk)

ISBN 978-3-03936-227-1 (PDF)


Contributers include:

Angela Bartram

Sydney Dinsmore

M. Melissa Crenshaw

Andrew Pepper

Pearl John

August Muth

Jacques Desbiens

Doris Vila

Mary Harman



Preface to ”Holography—A Critical Debate within Contemporary Visual Culture”

This Special Issue attempts to provide a platform for the critical discussion, reflection and analysis of holography, as a process and methodology within the work of creative practitioners. The Issue examines, through the values and vocabulary of artists and curators, how this medium has developed as a considered practice and where pressure can be placed upon the critical principles of this relatively young medium. The participants published here have taken a risk, not only through the public examination of their development, but also by attempting to contextualise the use and display of holography within a contemporary, cultural framework. I want to thank the contributors of this Special Issue, who share my curiosity towards the critical investigation and contextualisation of our work and ideas in the sphere of creative holography.

Andrew Pepper
Special Issue Editor



Commissioned by the Solomon R. Guggenheim Foundation, this text provides an overview of how artists have embraced holography within their practice.  It was published to coincide with Deana Lawson's solo exhibition at the Guggenheim Museum, New York,  in which she included holograms alongside her photographic work.  The exhibition ran from May - October 2021.

Holography: How Artists Sculpt with Light, Space, and Time

Illusion has been practiced in art for centuries. The painted effects of trompe l’œil, for example, have long been employed to highlight our thirst for trickery and demonstrate the artists’ technical prowess. In recent decades holograms have emerged as a new means to achieve such effects, and artists have begun to use them to explore opportunities beyond simple gimmickry.

Originally devised as an attempt to improve the resolution of electron microscopes in 1947, holograms have developed into a visual and technical phenomenon that provides scientists, engineers, researchers, and artists a new tool to explore the display of objects and spaces around them. Holograms fascinate us partly because they offer a novel way of sculpting with light and partly because they can reproduce three-dimensional objects in staggering high fidelity so convincing that they seem real.

Read the full text here on the Guggenheim website.




Saturday, 22 February 2014 Published in Writing Written by Be the first to comment!


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


Holography: How Artists Sculpt with Light, Space, and Time, Guggenheim, May 7 2021


Holography A Critical Debate within Contemporary Visual Culture, Andrew Pepper (Ed.)Special Arts Issue, (Vol 8, Issue 3) MDPI, Switzerland, July 2020.




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


Five surprising ways holograms are revolutionising the world, www.theconversation.com


SKYLINES, digital publication available on the iBook store, brings together a selection of photographs, specially produced digital drawings and slowly shifting animation.


Light liquid: a holographic 'lake' installed on the roof of an architect's model townscape, Proceedings, 9th International Symposium on Display Holography (ISDH 2012), MIT Media Lab, Cambridge, Massachusetts, USA, Journal of Physics, Conference Series 415, February 22, 2013.
Holography without frames: sculptural installations incorporating 'drawn' elements, Proceedings, 9th International Symposium on Display Holography (ISDH 2012), MIT Media Lab, Cambridge, Massachusetts, USA, Journal of Physics, Conference Series 415, February 22, 2013.
Pseudo architecture: holographic monument. Leonardo Journal of Art, Science and Technology, 46 (3), pp. 288-289, MIT Press, USA.
Spatial mark-making - 'drawn' marks 'off' the surface - a series of workshops. TRACEY: Drawing and Visualisation Research, special edition, Drawing Knowledge, (August).

Memorial, Ruben Nuñez, Holographer.org, January 2012

Spatial Mark Making – ‘Drawn’ Marks ‘off’ the Surface – A Series of Workshops, Proceedings, Drawing Research Network Conference, Loughborough University, pp 251 - 267, September 2012.

Memorial, Rudie Berkhout, Holographer.org, February 2009

*periphery, Contributor, YH485 Press, UK, September 2009, pp 16.


The Perception of Reality - Looking at Looking. Holography in the Modern Museum. RPS conference, De Montfort University, Leicester, UK, September 2008


Supporting Creative Holography, The Shearwater Foundation 1987 – 2004, Proceedings, 7th International Symposium on Display Holography, Wales, UK, July 2006.


Art Holography, Encyclopedia of Modern Optics, Elsevier Academic Press, Oxford, UK


Something in the air: Stephen Benton and a ‘family’ reunion, Holographer.org, January 2004, site launch.


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.


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.


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,


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.


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.


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.


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.



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.



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.



Qué piensa usted, José Buitrago, ARCO catalogue ,Videoarco '92, Madrid, Spain.



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.



A Strength of Purpose: The International Congress on Art Holography, (re)Mark, September 1990, No 1.



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.



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.



Expansion of Holographic Film Products, Holosphere, Spring, Vol 15, No 1, pp 12-13.



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.



Holography in Publishing, Holosphere, Summer, Vol 13, No 3, p 6.

Holography: Treasures of the USSR, (Publication editor), Exhibition catalogue, Light Fantastic, July.



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.



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.



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.



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.



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.



Kinetic art: 3-dimensional luminous images projected into volumes of smoke (Pentrojection).

Leonardo , Autumn, Vol 12, No 4, pp 283-289.



Andrew Pepper works with projected light, holography and installation.  Based in the UK,  he has exhibited his work in group and solo exhibitions internationally and, as a senior lecturer in fine art at Nottingham Trent University, he taught on the BA (Hons) fine art course, the Master of Fine Art course and has acted as a PhD examiner for a wide range of key project-based research submissions.


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