SUE GOLLIFER, Artist
Please click on the art images to view them in bigger size.
Copyright art and photos © 1997 Sue Gollifer
One person Shows:
1971 York University.
1972 Serpentine Gallery.
1996 Sussex University
Recent Group Exhibitions
International Miniature Print
Print , International Cadaques, Spain.
Various Museums in Catalunya,
Wingfield Festival of Arts &
Cordiale, Ecole Nationale de Musique,
Prints, The Royal National Theatre, The
South Bank, London.
Gardener Arts Centre, Sussex University.
print, Eastleigh Museum, Eastleigh,
Making a print:
Andover Museum, Andover.
Westbury manor Museum, Fareham
Havant Museum, Havant.
House Museum, Christchurch
Prints, Haworth Art Gallery, Accrington,
Prints, Concourse Gallery, Barbican,
Steccius, Landau, Germany.
Lyric Theatre, London.
Show, Scarborough Museum, Scarborough,
London Print Workshop, London.
liberties, a Clebration of Women in the
Original Prints, Havant Gallery ,
Exhibition of Graphic Art,4 Block',
Exhibition, Mall Galleries, London.
The Big Thaw,
Printmaking Open `94, Brighton Art Index,
Prints,Hatton Gallery, Newcastle
D'Outre Manche,Atelier Adzak, Paris.
British International Miniature Print Exhibition:
Brunel Gallery, Brunel
National Open Print Exhibition:
Art Gallery, Scarborough,
Lethaby Gallery, Central St
14th Mini Print International :
- Wingfield Music Festival, Wingfield.
Canet de Mar, Barcelona, Spain.
Twelve Contemporary British Printmaker:
Republic Art Museum,
Karelia, Petrozavodsk, Karelia,
ISEA, Helsinki, Finland.
"Digital Arts" Exhibition, Mall
Miniature Exhibition,Intaglio Gallery,
International Miniature Print Exhibition'
Bankside Gallery, Blackfriars,
Ramsgate Library Gallery,
Newbury District Museum, Granary
Exhibition Room, Newbury
International Minature Print Exhibition
Balbardi Gallery, Bathgate West
Gracefields Arts Centre, Dumfries
Bonhoga Gallery, Weisdale,
of Higher Education,
30 Years of
The PMC, Durham Light Infantry Museum
&, Art Gallery, Durham.
14th International Mini Print, Art Centre Seoul, Korea.
ArCade I, First British International Exhibition of Electronic Art
of Brighton, Brighton.
Fusion, Hardware Gallery, London
-Wakefield College of Art,
- University of Central Lancashire, Preston.
- Mercer Gallery, Harrogate
- Falmouth College of Art
Impressions, Rye Art Gallery, Sussex
A bunch of Digital Art, New Jersey, USA
ArCade II, Second British International Exhibition of Electronic Art
-University of Brighton, Brighton
- University of Derby, Derby
- Kensington & Chelsea College, London
The Third International Minature Print Exhibition:
- City Gallery Leicester
- Handel House Contemporary Gallery, Devizes.
- Rye Art Gallery, Rye
- AberystwythArts Centre, Aberystwyth
-Beldam Gallery, Brunel University, Uxbridge
'Transformations & Innovations', Mappin Art Gallery, Shefield
The Third International Minature Print Exhibition:
Virtual Galerij EKKO, Springtiji Festival, Utrecht, Netherlands
InSite, Watershed Gallery, Bristol
a room without walls, USA
included in the following Public Collections:
- British Council Collection
- Victoria & Albert Museum
- East Sussex County Council
- Buckingham Education Committee
- University of Sussex
- University of York
- The Open University
- Herbert Art Gallery, Coventry
- Cambridge Art Gallery
- Billingham Art Gallery
- Hove Museum of Art
- Ferrens Art Gallery, Hull
- Guildford Art Gallery
- South East Arts Collection
- South London Gallery
- Towner Art Gallery, Eastbourne
- Scarborough Museum of Art
- Museum of Kharkov, Ukraine
Recent Research &
Scholarly Activity 1994 - 1998
Key Note Presentations at conferences include:
3rd International Symposium of Electronic Art, ISEA,Helsinki, Finland.
Artists in cyberculture, a round table discussion of ÔNethicsÔ
New visions of the post-industrial society Conference, the University of Brighton.
Virtuality and networking,
2nd World Wide Web Conference, Chicago, USA
Imaging the future
Digital Creativity, CADE, Brighton, UK '
Artists and the internet
The Net Result is Art, 3rd Digital Dreams Conference, Newcastle, UK
1.What are the options for artists presenting work on the internet.
2.If a million artists each have their own Internet site, who will serve as arbiter of taste? If the culture industry won't curate a flood of unmarketable art who will?
84th College Arts Association Conference, Boston, USA.
The State of International Printmaking, ET IN ARCADIA EGO
Royal Photograhic Association, Holography Group.
SplitScreen, Conference, Chichester, UK
Is the world wide web the Gallery of Babylon?
Digital Ats Day, Visual arts UK, Gateshead
LTDI Workshop , Dundee University
Transaction at a distance: collaborative work on the internet
Wired Women, Portsmouth, Uk
The WIICA web
'Digital Creativity: CADE, Brighton, UK
1. Global collaborations
2. The impact of Digital Technology on International Printmaking
New Fields in Fine Art, Kensington and Chelsea, London, UK
Communiversity Conference: Public Art, Technology and Education, London UK
Figuring it out.....
DRH Digital Resources for Humanities, Oxford UK
86th CAA Conference, Toronto Canada
Printmaking ; Above and Below the Surface
collaborative Printmaking (Pending
Teaching experience: 1968-1998
1984 - 1998
University of Brighton: Senior Lecturer in Fine Art
Visiting Lecturer in Printmaking
Loughborough College of Art & Design
Rhode Island School of Design, Rhode Island, USA
Brown University, Rhode Island, USA
1968 / 1984
University of Brighton:
1983 / 1985
Eastbourne College of Art
Central School of Art
Camberwell school of Art
1974 / 1979
Epsom School of Art
St Martins School of Art
1969 / 1973
Hastings college of Art
Some examples of recent Published journal Articles, Conference Papers: 1994 -1997
Gollifer, S.(1994)Colourful Computing
Artists Newsletter. August
Gollifer, S.(1994) Imaging the future
Proceedings of the World Wide Web Conference October Chicago, USA.
Gollifer, S.(1994)1. Defining the limits of metaphor....
2. The uses of networking.....
Art and design Case studies: AGOCG Technical report 26.
Beardon, C. Gollifer,S & Worden, S. ( 1995)
Virtuality and networking: issues of identity and community
Conference proceedings - New visions of the post-industrial society
Gollifer, S.( 1995)ProNet Women and the Internet
a collaborative CD-ROM.- Funded by the Swiss Government.
Gollifer, S.(1995)ArCade I, Virtual Galleries'
Conference proceedings and CD-ROM.- CADE Conference
Beardon, C., Gollifer, S., Rose, C. & Worden, S. (1995) Designers as Users
Third Decennial Conference, Arhus, Denmark. August
Soft Options: Software applications which are designed to provide on-screen tools and functions....
Artists Newsletter September 1995
Gollifer, S & Hartney, M (1996) Symetry and contradictions Artists Profile ,.'
Sue Gollifer: ' Printmaking Today'
Gollifer, S.(1996)State of International Printmaking'
Conference proceedings, 84th CAA conference, Boston, USA,
Gollifer, S.(1996)'The application of electronic tools to printmaking',
YLEM, artists using science technology, USA publication
Gollifer, S.(1996)'Computer Art',
The Royal Photographic Society Newsletter, December
Gollifer, S.(1996)'Review of SplitScreen Conference'
Gollifer, S.(1997)1.'The impact of Digital Technology on International Printmaking'
Conference proceedings - CADE Conference April
Gollifer, S.(1997)'Review of ISEA Conference'
OutLine, CTIAD publication
Boullier, B & Gollifer, S (1997)
'A Review of IBM PC and Macintosh Compatible Image Manipulation Software'
AGOCG Technical report Number 35
Gollifer, S.(1997)'Is the world wide web- The Gallery of Babel?
Conference Papers- Split Screen , Chichester, July 1996
Beardon, C. Gollifer,S.Rose, C & Worden, S
Computer Use by Artists and Designers: Some Perspectives on Two Design Traditions
Computer and Design in Context
Statement About my Work:
My work has developed in the last twenty years according to a rigorous programme of formal experiment, through which sets of relationships evolved between shapes, colours and tones. At first these relationships were concerned only with the surface of the work: illusions of depth or movement were made explicit as illusions, by using a systematic grid arrangement, and maintaining the symmetry of the overall design. Later, perspective was incorporated into the work, so that the arrangement could be read as a depiction of a space with depth, although never as a 'scene ': the space depicted exists solely in the work.
More recent prints are designed to raise questions about the surface itself. The prints are made of paper, coloured. If anything is represented on them it is coloured paper, with folds, angles and creases suggested, but at the same time contradicted by the arrangement of colours, lines, and tones. The intention, as always, is to provide an arena in which the eye can be stimulated and pleased, while the mind can exercise its right to pursue or to reject the illusions offered or withheld.
Each print is of course a complete image, but when viewed in groups, or as a series, the prints can be seen as stages in a continuously process of transformation, from point to point, constantly polymorphic process, whose identity is maintained by my preference of tonal, chromatic and formal combinations. Although much of my work is still concerned with the traditional media of printmaking, I have become increasingly involved with new reprographic technology, using computer-generated imagery and innovative reproductive techniques, such as laser-based scanning and printing. These assist me to discover creative and surprising solutions to problems. The memory and speed and the vast network of options allow new thought processes to be explored and discarded painlessly as the ideas take shape, develop and germinate.
One attraction of this new technology, of course, is the convenience: calculations which once occupied hours, and involved painstaking measurement with ruler and compass can be completed with greater accuracy in seconds, leaving more time for the purely human judgments which remain fundamental to art. Another, as I have suggested above, is the possibility of creative error: a step taken with uncertainty can result in chaos, in which case it can be quickly unmade; or, more rarely, it can produce or suggest an order unforeseen in its complexity. In these cases the device is incorporated into the repertoire of available options, and the process of refinement and discovery continues.
Perhaps even more significant is the possibility offered of detaching the images, or the relationships which determine the images, from their material base. Although ultimately all experience of art derives from the perceptions of artist or viewer in the context of material sensations, computer technology enables the sources of these sensations to be temporarily encoded as streams of digits. In this form they can be modified in scale, directed into a wide range of printing or reproductive media, or almost instantly transmitted over vast distances. In these ways, the specific material form of the image can be made less obsessive. The transaction between artist and viewer becomes less that of a negotiable object, more that of a dialogue about perception. When I started to make prints, I was motivated by precisely that possibility: its renewal through new technology continues to motivate my work.