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Placing Critical Pressure on Creative Holography
In her seminal PhD thesis, submitted to the Royal College of Art, London, in 1994, Margaret Benyon, MBE, postulated the question “How is holography Art?”. (Benyon 1994) Within her 226 pages, she attempted to put pressure on the ‘How’ not the ‘Why’ or the ‘If’, using the lens of her own, considerable, research in the field. The broad issues surrounding this area of critical debate have not been extensively or continuously explored, either from within the field of practising artists investigating holography as a process, medium and methodology or through broader discursive platforms within the visual arts. The medium remains, for most, a curious optical innovation that lacks critical consideration. Perhaps, almost 25 years later, Benyon’s question is somewhat redundant, or too blunt an instrument to accurately pressurise the extensive research which has taken place over this period. Artists have actively extended the vocabulary of holographic imaging, not only through disrupting the technology, which makes it practical, but also through an attempt to investigate its visual, conceptual and practical vocabularies.
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  • 23 Jun 2020
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