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Holography is an art form, not a gimmick

FrontFX Magazine

Published

7 years ago

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In an article about the emergence of mass-produced holograms (DESIGN 364/61), James Woudhuysen predicted an ‘upsurge in publicly-exhibited bad taste.’ He implied that no-one is thinking inventively about the potential of three-dimensional laser-made photographs.

That is not surprising. Optical scientists working on the technique in the ‘sixties were often content to demonstrate the dramatic nature of the holographic process by using it to depict commonplace objects. Holograms of chessboards abounded – to such an extent that the uninitiated observer could have been forgiven for thinking there was some important though unfathomable connection between holography and the ancient art of chess.

Although it is entirely appropriate to use holography to make replicas of objects (and much easier to pack a suitcase full of holographic copies of machine tools than to freight an actual demonstration product), it is hardly the most exciting way to use the technique. Of course the scientists claim that it is not their job to consider the aesthetics of the process. Their goal is to reproduce a fully three-dimensional natural colour image which is indistinguishable from the original object. And, if and when such hyper-realism becomes possible, it will certainly be useful. For example, holographic duplicates could be made of objects which are rare, valuable, difficult to transport or in imminent danger of decay (indeed, holograms are currently being made of many of the valuable artefacts stored in the Hermitage Museum in Leningrad: other museums can ‘borrow’ the exhibits, or the public can purchase them – in holographic form). But our skills of mechanical image making seem to have progressed so far towards realism that individual interpretation over and above the original choice of subject appears forgotten.                                                                                

Perhaps the cold curse of realism, once placed at photography’s doorstep, has finally found its resting-place in the house of holography. Yet we now dismiss claims that realism renders photography uninteresting. Photography produces images which are flat; it does not always reproduce colour as we see it; it presents us with only one point of view. Photographers exploit all these effects to lend an individual interpretation to a particular subject. So holography’s critics should wait before they accuse it of being inescapably realistic.

For the moment the novelty of holograms ensures that almost any holographic display attracts interest and attention. Advertisers are bound to exploit this: even holographic poster hoardings are in the offing, once the technical and economic problems of ‘scaling up’ the holographic apparatus are solved. A pity, because this particular type of advertising displays will be the only way in which the vast majority of the public will become at all familiar with the holographic image. And a hologram of a can of baked beans has no more intrinsic interest than the original can.

Familiarity with the process will inevitably lead to boredom unless enterprising artists and graphic designers take a closer look at the holographic process and isolate those eye-catching visual tricks – often applied with only subconscious awareness – which have assured the effectiveness and longevity of other visual media.

Holography is appropriate when it is used to depict aspects of our world which it would otherwise be impossible to see; or when it is used to depict the world in a different, possibly artificial, way which exploits its unique features. Identical criteria can be applied to other visual media, and usually are, but the high technology glitter of holography has lent to it a mystique which acts to circumvent serious critical appraisal.

Holography does not benefit from being portrayed as a piece of science fiction made fact. This only increases expectations and ultimately leads to disappointment. What holography does need is to be appraised in a calm and unemotional way – and used where appropriate. Only then can it attain the respectability accorded to established technical media – photography, film and television – with which it has so much in common.

Michael Wenyon is author of Understanding Holography
Caption: Margaret Benyon used double exposure technique to make ‘Bird in a Box’ (1973). Her use of holography is sensitive –’appropriate’, even

Wenyon, Michael, ‘Holography Is an Art Form, Not a Gimmick’, Design, 1979, pp. 72–73 
Source by wengam.com
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El Chuco Inspirations: Become a part of the art at Paradox Immersive Art gallery

FrontFX Magazine

Published

3 years ago

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August 27, 2021

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A new interactive art gallery located at the historic Socorro Mission Trail (EL PASO, Texas) is officially open to the public and offers an experience unlike others.

Paradox Immersive Art is a vibrant, interactive gallery where you become a part of the art through digital projections and art installations.

“The space in general kind of looks like this mystic desert space where people think ‘Wow, where am I?’ It’s kind of like traveling but within your own city limits,” said Laura Turón, local artist and founder of Paradox Immersive Art gallery.

The outdoor gallery showcases art by Laura Turón and features artist David Delgado.

“Little by little, it started growing and that’s when I invited David Delgado to create his projection art installation and exhibit it out here,” Turón shared. “The cool thing is that the space is outdoors so it’s kind of compliant with COVID and good for social distancing, we have a lot of space. That’s how this all came about. Just little by little, setting up my studio and the nature of my art, we became this immersive art gallery.”

Paradox Immersive Art made its grand opening debut in the beginning of August, however the installations found at the gallery have been works in progress since 2017.

“The concept of all the pieces is that they’re ephemeral and that they can be installed anywhere,” said Turón.

Turón shared how she started building the Paradox traveling art bus in 2017 and from then on began creating different art installations that are immersive – inviting an opportunity for people to participate in community art.

“The bus itself, to just convert it from what it used to be, an old school bus, that one took an entire year and that’s when I was barely starting so it was mainly just on my own and with volunteers,” Turón said.

One of the installations that immediately catches your eye once you enter the gallery is the Paradox Pyramid. Turón describes the project as a huge puzzle and the pieces built connect together to create the pyramid. It was first featured at Chalk the Block in 2018, “This pyramid took about two to three and a half months to complete, but working 16 hours a day because we wanted to set it up at Chalk the Block.”

“When she moved to this space, I was helping her build the pyramid and I could see the potential right away. When people came in, they liked the installations and I told her about setting up my projections here so we decided to go for it,” said David Delgado, local artist featured at Paradox Immersive Art.

The newest project art installation featured at the gallery is interactive as well and users can control images they see with a dashboard. Turon explains that the piece combines concepts of art and science, “That’s my newest piece, and I collaborated with David Delgado, the featured artists, and students from the EM lab at UTEP.”

Delgado’s installation at the gallery is a digital projection called “Sinestésico” (Synesthesiac) which is based on synesthesia, a rare neurological disorder that affects different senses that get tied to each other. In the case of Delgado’s installation, he configured audio and visual senses.

“I never knew how to draw growing up, but this was the way that I could create art, with technology and with our own movement,” Delgado shared, “A lot of the things I touch are a little bit existential. Things that remind me of real life, so purposely my installation is ephemeral. It only lasts as long as the interaction, and it requires the interaction to exist.”

Both artists said they’ve seen many people come and experience the gallery since its grand opening.

“I think it’s my favorite thing to watch people come in and see them be mesmerized by all the installations and interact with all of them,” Delgado said.

The gallery can be found inside of Hacienda Apodaca (10180 Socorro Rd.) It’s right across the street from Casa Ortiz and Three Missions brewery, creating a trifecta of activities people can experience all together.

Turón said one of her concepts as an artist it to make art accessible for everyone, and to install or take art in areas that have limited to no access to art.

“When people decide to come over here and support us, we’re able to stay open, continue growing and do more things,” Turón shared.

“Community art has always been a huge aspect of Laura’s work and something that I related to right away. It’s something that I’ve always been into,” Delgado added. “So it’s really nice to be able to bring it out here outside where you’d normally see a gallery like this and bring it to other communities.”

Both artists agree that success can come from surrounding yourself with those who make you feel inspired, be creative, and encourage others to do the same, “Sometimes all it takes is reaching out, believing in yourself and not being afraid,” Turón.

“As a community, we can’t get very far by ourselves, but together we can really create change,” Delgado added.

Paradox Immersive Art is now open from 8:30 p.m. to 11:30 p.m. on Thursdays through Saturdays. You can follow the gallery on Instagram @paradoximmersiveart. To follow Laura Turón, you can find her on Instagram @turonlaura and David Delgado @mister_self_destruct.

To get tickets, click here.

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