Jonathan Ross Holography Collection

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Published in Pepper Plus

Statement

Born 1955, Nottingham, England.

Although the impressive 3-D quality of holography attracted me to the medium it also irritated me. I did not want to use the process purely for its visual impact and 'cleverness' so it was some time, after leaning how to make holograms at New York Holographic Laboratories, that I began to find a way through the techno-cleanliness of the medium. I wanted to explore some of the properties inherent in the laser light used to make holograms as well as aspects of spontaneity, drawing, sketching.

SQUARE ECLIPSE 1989

Reflection hologram
Silver halide on glass
25 x 20

 

 

 

 

 

 

 

 

Square Eclipse was one of the very first pieces where I attempted to reduce the impact of the 3-D 'object' in the hologram and produce a series of 'flat' 'shadow' pieces. It developed directly from my period as Artist-in-Residence at the Museum of Holography, New York, in 1987, where the 'Drawing Series' was produced.

Square Eclipse is extremely shallow, the dark rectangle protruding just above the surface of the holographic plate. It is the recording of a shadow. That shadow casts its own shadow, which in turn is 'liberated' from the surface and exists between the viewer and the glass of the hologram. The shadow eclipses itself as the viewer moves around in front of the piece.

These shadows intrigue me because they 'exist' between the various classifications we apply to the visual arts: they are not drawings, sculptures, photographs, 3-D objects or real shadows. They exist because holography allows them to and are animated because of the movement of the viewer - interactivity without the 'digital circus'.

The 'patterning' around the eclipse is 'dirt' in the optical system used to make the hologram. So often the 'rough edges' of holography are filtered out - removed from view, but they add a sense of depth beyond the expected 3-D experience which typifies the medium. That realisation encouraged me to begin 'distressing' the holographic plates - scratching off the emulsion, drawing on the holographic plate before and after it was exposed to laser light, introducing dirt, hair, grit, marks, blemishes. All helped to build textures and contours which were not repeatable and lead to several one-off pieces and editions using 'drawings' in, on and through the holographic plate.

 

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