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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.
More details about the work and exhibition here.


As part of the gallery space, movable wall panels have been located in front of the large gallery side windows to offer extra exhibition space.  This 'artificial' wall (a transient upright) is beautifully reminiscent of theatrical 'flats' and connects conceptually, and practically, with the location, placement and illumination of the piece.

The massive luminous source - radiating heat from the large bulb inside - makes visible the tiny marks, hovering in space, released by the holographic surface.  A sledge hammer to crack a nut.  

An almost insignificant object not offered the 'credibility' of eye level display and invisible from most of the gallery.






Published in Andrew Pepper

Early research by Andrew Pepper has been acknowledged in a new book: 3D, History, Theory and Aesthetics of the Transplane Image by Jens Schröter

Published by Bloomsbury in Volume 6 of the International Texts in Critical Media Aesthetics, Pepper's work is referenced in the chapter Since 1948: Holography.  The publishers also used one of Pepper's illustrations as the main book cover illustration.

3D, History, Theory and Aesthetics of the Transplane Image.
Jens Schröter

Volume 6 of the International Texts in Critical Media Aesthetics.  Founding editor: Francisco J. Ricardo.
Bloomsbury Academic, New York and London, 2014.

ISBN: HB: 978-1-4411-9408-4



Published in Shout

Light Wedge 2018

Is a floor mounted installation made up of dichromate gelatine holograms supported by a wooden wedge.

Produced in collaboration with August Muth, the Light Foundry, Santa Fe, New Mexico, USA.

Originally shown in Art in Holography: Light, Space & Time at the Aveiro City Museum, Portugal.

This curated exhibition coincided with the 11th International Symposium on Display Holography, held at the University of Aviero and Light Wedge was shown in two versions.

The initial floor installation incorporated two plates and wooden wedge was displayed for the duration of the symposium.  For the remainder of the exhibition (until September 30th) a single plate lifted slightly from the gallery floor by the wooden wedge, was shown.

Published in Andrew Pepper

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).

Published in Andrew Pepper

Based on previous floor works using multiple holograms, this piece was first shown in the Drawology group exhibition at the Bonington Gallery, Nottingham, UK, during 2013.

Edition: Unique

Materials: 20 Reflection holograms on glass.

Size: Installation 100 x 20 cm (approx.)







Published in Andrew Pepper

Title: Three - Nine

Date: 2016

Materials: 35mm slide + projector, gallery plinths, illuminated wall, digital reflection hologram,

Size: Gallery Installation

Notes: Developed from explorations initiated in the Summer Lodge 2015 residency at Nottingham Trent University.
29th June - 10th July 2015. 
Subsequent staging and testing at Primary Studio's Film Free and Easy, October 2015.

Installed as part of the Alternative Document Exhibition, Project Space Plus, Lincoln, UK, the piece incorporates three 35mm slide projectors, each projecting a single image of a rectangle (and bisecting line) onto the gallery wall.




Published in Andrew Pepper

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).

Published in Andrew Pepper

Light Wedge 2018 - Present
Two glass holographic plates (drawings), physical wooden wedge.

We intrinsically ‘understand’ how drawings in our world function.  They are stable and attached to their picture plane.  What happens when that drawing is moved off the surface, and what does it become? It is neither a drawing, a photograph, or physical object.


In Light Wedge, a ‘drawn’ representation of a wooden wedge occupies a ‘place’ between the glass ‘picture’ surface and the observer. The light in the holograms is from 2018, when the drawings were recorded. Light from the physical wedge is from 2022 (or whenever the installation is viewed).

Light Wedge was selected from over 300 entries for inclusion in the 2022 New Art Exchange Open exhibition.

Produced in collaboration with August Muth, the Light Foundry, Santa Fe, New Mexico, USA.



The exhibition opened on 10th June 2022 and continues until 3rd September
Gallery open Tuesday – Saturday 10am - 4pm



Published in Andrew Pepper

Andrew Pepper is showing work in the New Art Exchange Open exhibition

The exhibition opens on 10th June 2022
Tuesday – Saturday 10am - 4pm


The juried selection, from over 300 submitted works, reflects the diversity of practices and approaches from Nottinghamshire based artists and Global Majority artists living in the UK.


Light Wedge, an installation incorporating holographic drawings.


Published in Shout

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)

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 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 there is an interest 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 installation 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 instance it is not possible to see the marks or holographic content as they appear within each other's 'space', each protruding structure obscuring the other's content. 

Published in Andrew Pepper