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david warren
Once upon a time I studied photography and cinematography and someone gave me a Fine Arts degree for my efforts. This was followed by study and practical research into holography for which another stranger gave me a Masters degree in Visual Arts. This episode of strangers handing me documents concluded when I received a Diploma in Teaching Art. Time passed. Always creative, always inquisitive, always getting older. My creative diversions expanded and now includes writing, photography, cinematography, painting, music and my major combat zone of holography that recently produced 'Hololujah', a one kilometre hologram.
Then from somewhere in Australia I relocated to somewhere in France. All my baggage came with me.
Painting has always been a 'down time' activity for me. It provides enough difficulties and challenges to keep me interested while offering chances to brood over problems and ideas of the other eclectic diversions. These might range from experimenting with alternative ways to hang out the washing to delving deeper into the notion of 'what is colour?' other than a range of wavelengths. Pursuing the impressionistic painting style gives me opportunities to think about this question; not to necessarily find an answer, but to enjoy the journey of contemplation. The act of making paintings brings with it a long procession of decision making that is more rewarding than the end game question of 'Is it a good painting?" In this context what does the term 'good' define? I'll tell you. A painting with a history, a journey, a sense of adventure. As I see it, a bus terminal is, in itself, not a journey.

Vache Distraite, 100x100cm, 2022

HPPorte d'eorte d'entréeeading 1
Porte d'entree, 40x30cm, 2022

Pont du Cajarc, 100x100cm, 2022,
private collection
SOLD

Tracteur Rouge, 100x100cm, 2022

Peupliers 1, 120x50cm, 2022

Chene, 120x50cm, 2022

Peupliers 2, 120x50cm, 2022

Peupliers 3, 120x50cm, 2022

Peupliers au bord de la route, 120x40cm, 2022

Faycelles, 42x32cm, 2022

Peupliers, 60x50cm, 2022

Thiviers oak tree, France
private collection

Firbeix lake, France
private collection

Dog at the Crossroads in the Lot Valley, France

Lot River bank, France

The Carillon, Australia
private collection

In front of the gite, France

Kuitpo Forest, Australia

The barn, France

Beyond the gate, France

Encounter Bay, Australia

St Petersburg, Russia
private collection



Toledo, Spain
private collection
Notre Dame, France

Prof. Paul Davies, astrophysicist, author
Oil paint and holographic foil on board
private collection

Glen and Sue, musicians and music teachers
Oil paint on canvas, 1x1.5 metres
private collection

Lot River, France

Lot Valley looking south, France
private collection
Holography has been in my life for about 40 years and still it is almost unheard of to see a hologram on display in homes. Galleries promoting this medium most often have a shelf life shorter than a loaf of bread. Fortunately the demise of holography, as art, affects me about as often as a bout of ebola. My personal addiction to this medium are the visual characteristics that lend themselves to promoting art ideas that I believe, might not be as well communicated with other mediums. Of these I am talking particularly of the 3D effects, the positive and negative imagery and the potential to show full imagery while illuminating but a fraction of the recorded hologram and its objects/scene.
With a choice of mediums at my disposal (photography, music, painting, writing, etc) that decision will, utlimately, be determined by the relevant question asked by others while discussing my work..."Why did you use holography to bring your idea to fruition?" I will always be in a position to confidently answer that and will relate to those uniques visual characteristics and might include pointing out visual experiences of the holographic piece that might not be as familiar or obvious to the questioner.
'IT is RT'

Moscow, Russia, 2007
white light reflection hologram 30x40cm


'Hololujah'

Adelaide, Australia, 2012
white light transmission hologram
1 kilometre x 35mm


YouTube: Presentation at MIT, Boston
'I Dreamt We Had Something To Say'

New York, USA, 2007
laser transmission hologram
9 metres x 35cm


Camera built to expose 30 holographic portraits on film using a ruby pulse laser


'Models & Martyrs'

Adelaide, Australia, 1984
laser transmission hologram
1 x 1.5 metres


Adelaide University, laser lab, mechanical engineering department

mannequin models arranged
on vibration proof table prior
to exposure of laser light to hologram glass plate
'White Money, Black Money'




Moscow, Russia, 2007
white light reflection holograms
double exposure
each 30x40cm
We nd 2 tlk

The Gamer

YouTube from previous website:
zipsisterholography.com (defunct)
Vermont, USA, 2011
white light transmission holograms
each 1x1metre
Story Title

'Hyundai Sapien...
my car is my skin

Seoul, South Korea, 1999
white light reflection
20x5cm
'Father and Son'

London, UK 1986
Royal College of Art, holography lab
laser and white light transmission
twelve 50x25cm




'36 Views of the Holographic Self'

Inspired by Hokusai's print series, 36 Views of Mt Fuji. In his prints the shape of Mt Fuji was echoed by other objects in his prints.
In my artwork, a large self portrait hologram containing thousands of different views was cut up into smaller holograms containing less views but still displaying the full image. These smaller holograms were placed in envelopes and scattered around Tokyo.


Tokyo, Japan 1996
36 envelopes each with a hologram 1x5cm

'Uncertainty Principle'

Easter Island, Chile 1994
white light reflection holograms
20x30cm

Small Title
'Inside the Square'

Madrid, Spain 2004
white light reflection
20x20cm
Small Title
'Depth'

Leysin, Switzerland, 2005
white light transmission
20x20cm
'St. Valentine's Day Gambit'

While in Havana on St. Valentine's Day, 2002, I produced a holograpahic artwork about a virtual game between the Cuban chess champion Jose Capablanca, represented by a generic portrait hologram, and others also interred at the cemetary.
Havana Cemetary, Cuba, 14 Feb, 2002
white light reflection
20x30cm



'checkmate'
'Dr David Warren'

Canberra, Australia 2008
full colour reflection hologram
25x18cm

Dr-W-video-2
Australian inventor of the black box flight recorder
'Nice Man'

nice man. wmv.mp4
Canberra, Australia, 2009
full colour reflection hologram
25x18cm

The theme of this work relates to the common and disturbing prevelance of online predators; those appearing as nice men and preying on innocent
girls (lambs)






Music has always been there to support my down time, up time and any other time, often massaging the other eclectic diversions. I grew up in the era of the beginnings of synthesizers, drum machines and multi track cassette recorders. It was during this time, while producing some holograms for the government as a guest artist at the physics department of Australia's National University, that I also had the opportunity to use an early CMI Fairlight (invented in Australia) which comprised of a full size keyboard, computer and microphone that could record and store sounds as a sampler and played across the keys. At that time, these were beyond the price range of mere mortals below the likes of Peter Gabriel and Stevie Wonder. Mine was at the Canberra School of Electronic Music. Effective but primative by todays standards it nonetheless gave me the chance to immerse myself in experimenting and improvising with the ultimate sonic generator. As I had no formal music training I was the kid in the candy store. Improvised playing was a natural approach. Today I am prepared to leave musical mistakes. Perfection is the rule celebrated by those who often have little else to give. And while my music may, at times seem structured, many recordings include numerous one takes, be it piano, guitar, or any of the vast number of synth tones, responding to the previous recorded layers and seeing what my fingers choose to play. Maximum 5 tracks per offering regardless of total times.





Self Portrait, iPad, 20x15cm

