Holograms have limitations in scale and they are hard to see without the right light and they were expensive to make. Also I had noticed that the camera I constructed to make the holograms was far more interesting than the hologram end result. All the patterns from stray laser light and paraphernalia that is used to make Holograms had a far more interesting narrative.

 

So began a series of installations in art spaces in the UK. In each venue I would scour the streets and shops and homes of people I met and collect/find/buy random objects, books (which I burnt holes through), and assorted paraphernalia, all of them connected to each other by laser light. If you followed the light you could follow the narrative by adding up the meanings and relationships of each object. Each location would provide its own unique story. These were very popular but not easily sold. None survive.

 

By 1995 I had discovered lenticulars and was one of the first artist in the UK to start to use the Lenticular medium for fine art. Suddenly, I could work without a dark room, in any scale and in any colour and make artwork that could be framed, sold and collected, understood. It was a moment of freedom for my self expression. It coincided with my getting a computer and software like Photoshop and 3D studio Max. Again I taught myself how to make lenticulars and I organised exhibitions in London and UK to promote, sell and expose this new medium. At this time I appeared on TV and on Radio becoming the only expert on the subject and the go to person for comment and analysis.

 

With very few experts in the field with my experience and artistic expertise, I found myself persuaded away from pure Fine Art, to set up a company with private investors called Interlace 4D Ltd. We held Star Wars and Star Trek licenses, made merchandise, produced lenticulars for trade shows, and a wide variety of marketing exploits.

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The company was commissioned by large and expensive department stores like Harrods for high end window displays, or big businesses who wanted to decorate their walls with unusual and interesting artworks like Chevron for whom I made 50 lenticular artworks about oil rigs that still decorate their walls in their London HQ.

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Selected achievements include :-

• • The opening windows of Garrard in Bond Street with an exquisitely coloured collection of 3D Butterfly's and Moths which later became a series of artworks.

 

• • Jaeger's 120th anniversary windows countrywide with archive magazine photos as flips to animate the window display as you walked past.

 

• • The Christmas windows for Swarovski in 70 countries, using imagery from Phantom of the Opera.

 

• • Christmas windows for Ralph Lauren in London.

 

• • The Schipol airport Shop for Dunhill, a massive project of three 23 meter wide by 2 meter high backlit animated walls, that made the exterior walls of a circular shop.

 

• • A 6 meter wide x 1 meter high 3D and animated abstracted art piece for Coke Cola's London HQ foyer.

 

• • A set of 1.2m sq transparent 3D images using archive photographs and 3D models of cars for Opal for their annual Motor Show stand.

 

• • A set of 6 images, each 1M high by 60cm wide, as a frieze for the Dining Room at Guildford University, now hanging in the Rector's rooms.

 

There have been many other unique and unusual projects for interior design companies and private clients during this time. I have made floors, walls, ceilings and even lenticular stained glass windows.

 

(Sadly a hard drive crash has stripped me of all artworks and all documentary pictures of this time).