Work
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:
1994
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
1995
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?
1996
84th College
Arts Association Conference, Boston, USA.
The
State of International
Printmaking, ET IN ARCADIA EGO
Royal Photograhic Association, Holography
Group.
Computer
Art
SplitScreen, Conference, Chichester, UK
Is
the world wide web the Gallery of
Babylon?
Digital Ats
Day, Visual arts UK, Gateshead
Digital
art
LTDI Workshop
, Dundee University
Transaction
at a distance: collaborative work
on the internet
1997
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
Electronic
Printmaking
Communiversity Conference: Public Art,
Technology and Education, London UK
Figuring
it out.....
DRH Digital Resources for Humanities,
Oxford UK
Why
CTI?
1998
86th CAA
Conference, Toronto Canada
Printmaking
; Above and Below the Surface
Global
collaborative Printmaking (Pending
February)
Teaching experience:
1968-1998
Full time
1984 - 1998
University of
Brighton: Senior Lecturer in Fine Art
Visiting Lecturer in Printmaking
1997
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
1984
Central School of
Art
Camberwell school
of Art
1974 / 1979
Epsom School of
Art
1974
St Martins School
of Art
1969 / 1973
Hastings college
of Art
Some examples of
recent Published journal Articles, Conference Papers: 1994 -1997
1994
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.
1995
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
Gollifer, S.(1995)
Soft
Options: Software applications
which are designed to provide
on-screen tools and functions....
Artists
Newsletter September 1995
1996
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'
OutLine,
CTIAD publication
1997
Gollifer,
S.(1997)1.'The impact of Digital
Technology on International Printmaking'
2.'Global
Collaborations'
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
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.
