Recrafting the hologram: A practice-based investigation into the feminisation and democratisation of holography through a glass-maker’s lens.

This transdisciplinary, practice-based study uses the production of and interaction with holographic artefacts to explore themes of feminisation, wonder, democratisation, and value, through anti-hierarchical practice and the sharing of knowledge. Historically, holography fell victim to the gendering of skills, despite the trending social movements occurring during the time in which it gained momentum as an artistic medium in response to the development of the laser in the 1960s. It can be argued that the phallocentric attitude has created a hostile environment for newcomers, particularly those not of a white, cis-gendered man background, ultimately contributing to the perceived, justified or otherwise, “insecurity” (Pepper, 2013, p.1) of this skill. This study will consider how the feminisation and democratization of holography could address these concerns in three stages. Firstly, it does so through the creative production of holographic images, using novel techniques which challenge the tried and tested methods documented in the literature. Secondly, through incorporating these images in the creation of novel objects of wonder, through the use of feminised processes, it transforms and challenges the machismo of this skill dominated by men through the feminisation and focus on touch. And finally, the delivery of a supplementary educational workshop, that equips participants with the confidence, freedom, and skills to explore this innovative technology, in a practice which is meaningful to them. By considering the production of holographic artefacts beyond the commercial, this study explores alternative sources of value that contribute to a richer aesthetic experience with the technology, for the maker, the audience, and the participant. This transdisciplinary study mobilises a rich combination of creative practice, ethnography, autoethnography, interviews, focus groups, and workshops, to consider these issues holistically. The autoethnographic nature of this journey includes exploration of memberships to communities, what impact this has on one's sense of self and belonging, and the impact this has on creative practice. Using divergent thinking, this research explores alternative and creative methods of the production and recording of holograms, challenging the tried and tested method of production. These plates are then used in conjunction with handmade glass to create novel objects. This development of a unique creative practice has informed the design of a transportable workshop to provide accessible, supplementary education, taking holography to the people.