Milan, Galleria Cardi, Peter Halley, 18 February – 30 March, 2003
Literature
Exhibition Catalogue, Peter Halley, Milan, 2003, n.p. (illustrated)
Catalogue Essay
For over a decade Peter Halley has painted abstractions that suggest the angular and rigid geometries of structures as diverse as prison cells and computer chips. Beautiful and startling, his large, typically fluorescent images suggest that culture and commerce and everything ‘man made’ have been irrevocably divorced from the organic, and that, as critic Dan Cameron has written in reference to Halley’s work, ‘geometry is not an abstract language at all so much as a blueprint for the entire manmade world that surrounds us’. Where minimalist artists of previous generations often pursued profound and ethereal truths by making large monochromatic abstractions, the synthetic colours and closed geometric systems of Halley’s works convey a dual effect of urban alienation and high energy. Taken from www.broadartfoundation.org
2003 Acrylic, day-glo, pearlescent and metallic paint and roll-a-tex on canvas. 241.3 x 406.4 cm. (95 x 160 in). Signed and dated ‘Peter Halley 2003’ on the reverse.