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Andrew Pepper

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

Monday, 13 December 2021 16:08 Published in Writing

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.



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



New Book Published

Thursday, 05 November 2020 11:35 Published in News

A new book, edited by Andrew Pepper, published by MDPI Switzerland

Holography A Critical Debate within Contemporary Visual Culture, brings together key artists, curators and observers to offer a critical reflection on the development of holography in the visual arts.

Published by MDPI Switzerland, it is available in hardback or as a free PDF download.

More details here



Tuesday, 01 September 2009 00:00 Published in Writing

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.



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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