Abstract

Since its adoption by artists, shortly after the process became practical in the 1960’s, holography has struggled to be accepted as a legitimate medium within the visual arts. A number of key milestones, during the early developmental process of creative holography, are acknowledged with reference to sparse critical discussions. The value of ‘traditional’, framed, wall-based display is explored and a number of sculptural installations by the author, which have attempted to question this method of presentation, are discussed. Floor-based installations, which involve the integration of drawn holographic elements within site-specific locations, are examined.