Peter William Holden


 [AutoGene] physical animation
Umbrellas, Steel, Industrial Computer, Compressed Air Components <4.5m x 4.5m x 0.8m>

Giving a first impression of a simple commodity sculpture, “AutoGene” lures the viewer into a false sense of security, which is then, at the flick of a switch, rapidly dispelled. The seemingly mundane umbrellas are transformed into magical, animated objects. The circular arrangement combined with the striking contrast produced as the umbrellas expand and contract engender the formation of abstract ephemeral patterns, which are seemingly governed by the accompanying music. The viewer is obliged to re-evaluate the sculpture, inviting comparisons with dance and animation as the mechanical pixels complete their choreographed movement through time and space.


  [Arabesque] mechanical kaleidoscope
Composite Plastic, Steel, Industrial Computer, Compressed Air Components <4.5m x 4.5m x 1.5m>

“Arabesque” is a mechanical installation which has its roots both in Mary Shelly’s Frankenstein and the alchemist’s laboratory. Life sized cast human body parts with translucent qualities bare their internal robotic mechanisms to the public. The wiring itself is an aesthetic expression deliberately integrated into the installation to bringing chaotic lines of abstract form to contrast with the organized symmetry of the body parts.
Part cinema, part theatre, “Arabesque” can be viewed form a multitude of angles, revealing a kaleidoscope of beautiful shapes and patterns created from the human form.


 [SoleNoid] audio - visual installation
Shoes, Steel, Industrial Computer, Compressed Air Components
<4.5m x 4.5m x 0.5m> Musical Composition Marko Wild

Eight glossy tap-dance shoes, placed symmetrically in a circle and are animated by a computer connected with circuits controlling electromechanical valves and compressed air cylinders. The "living" shoes move in a multiplicity of directions beating out the composition of Marko Wild on special circular platforms. Inserts on the soles amplify the movement of the toes and heals that sometimes occurs in sync and sometimes in backbeats. It's a concert of many different tones, all so short, sharp and to the point that, in some fast passages, the mind links it to the sound of castanets. SoleNoid ß is an installation in which we are the spectator in a theatre of mechanical movements, orchestrated by a synthetic brain.


  [Inertia] audio - video installation
8 Video Screens, Industrial Computer, Custom Electronics
Music Henry Vega / Dancer Géraldine Fournier.

Inertia is an installation utilizing video footage to create a panoramic animation constructed from the motion and gestures of a female dancer choreographed to contemporary music. The animation itself is presented on eight equally spaced screens which are arranged on the circumference of a circle. So the observer finds themselves in an artificial 360° panorama.
Initially when a viewer enters the installation each screen is displaying static and white noise fills the space. Upon recognition of the observer presence the static fades out and the animation begins. The choreography of the movement flows between the screens so even though each screen displays its own unique film the screens are seemingly interconnected. The musical composition is an eight channel piece with loud speakers assigned to each screen. Key sounds are spatially position to assist the viewer in determine the focal point of the visual motion.

Coproduction l’Allan, Scène Nationale de Montbéliard dans le cadre d’une résidence [ars]numerica, Centre Européen dédié aux arts numérique.

 Special thanks to: Yasmina Demoly, Jean Claude and Gilles Marchesi.


  [Vicious Circle] choreographic installation
Composite plastic, Computer, Compressed Air Components, Mp3 Player <5m x 4m x 1.5m>

Inspired by the “The Industrial Revolution” and the subsequent changes in human development brought about by that revolution. It is a brutalist robotic structure and it is a representation of some of the fears I have with technology. The motion of the machine reminds me of the relentless movement of progress as the machine moves to its predetermined program, ignorant of its environment and unwilling to stop if anything gets in its way. Though paradoxically it is possible to see beauty within its movements as the life size cast hands rise and fall forming a swarm that flocks together like birds in a choreographed dance to Prokofiev’s “Dance of the knights". Thus reminding me that technology is a double edged sword and we / humanity have the possibility to decide which direction it will take.


  [Critical Mass] choreographic installation
Hats, Computers, Delta Robots, Compressed Air Components, Mp3 Player <5m x 5m x 2.5m>

under construction.....






Like many of my generation I grew up suckling on a cathode ray tube and bathing in radio waves. All this is depicted within my work, in a collage of movement, light and sound.

Currently with my work I am exploring ways of dissolving the boundaries between cinematography and sculpture. My recent investigations of this theme have involved the usage of computers combined with mechanical elements to create mandala like installations. These installations are my medium and I use them to create ephemeral animations. This ephemeral choreography of movement is the focal point of my work.

I believe this fascination with moving imagery and the transformation of objects stems from my youth where early home computers of the 1980s gave me a glimpse into the wonderful world of applied mathematics. On these computers it was possible with simple codes to generate fantastic abstract patterns and sounds and that encounter destroyed forever the boundary in my mind between abstract and real.

Dance also plays a significant role in my work; I was drawn to it through electronic music. Electro with its synthesized sound introduced me to break-dance and my soul was captured by the beauty of choreographed physical movement.







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