Peter William Holden


 [AutoGene] real-time 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 observer is obligated to re-evaluate this 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 kinetic art work which as its roots both in Mary Shelly’s Frankenstein and the alchemist’s laboratory. Life sized cast human body parts (incidentally casts of my own body) 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.
“Arabesque” when in motion become's a time-based performance and can be viewed form a multitude of angles, revealing a kaleidoscope of beautiful patterns and shapes 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 to circuits controlling electro mechanical 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.


  [The Invisible] robotic choreographies
Hats, Computers, Delta Robots, Compressed Air Components, Mp3 Player <5m x 5m x 2.5m>

The installation makes it possible for surrealist ideas to manifest themselves in the physical world. Hats aided with robotic structures and a computer controller are choreographed to perform. Swerving, rotating and rushing this way and that to the accompanying sound of Wagner’s Ride of the Valkyries in an absurd theatrical homage to Apocalypse Now.




Peter William Holden



Time-based sculpture and kinetic art as a medium to create animation.

As an artist I’m interested in exploring ways to dissolve the boundaries between cinematography and sculpture. In my recent investigations of this theme I've been working with computers combined with robotic elements to create mandala like kinetic sculptures.

I consider these kinetic sculptures to be the medium I work with and just a necessary step to achieve what I believe is the true focal point of my work. That focal point being the ephemeral animations — choreographies that are created when the sculptures are in motion.

Computers and digital art.

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 in real-time. That encounter destroyed forever the boundary in my mind between abstract and real and gave me an insight to the possibilities of digital art.

Choreography and dance.

Dance also plays a significant role in my kinetic art; 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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Booklet Pdf

Bio / Exhibitions Pdf




Arabesque Pdf

AutoGene Pdf

SoleNoid Pdf

Vicious Circle Pdf

The Invisible Pdf




Matthias Möller



AutoGene / Arabesque / SoleNoid

Ameen Muhairez