Peter Halley, born 1953 in New York, lives and works in New York. Halley´s compositions are more than geometric abstractions. His cells and conduits represent the diagrammatic regulatory practices of modern social life, giving visual form to organizational systems that we find in everything from computer chips to corporations, buildings and airports. »In this new pair of prints, I have, for the first time, begun to work with metallic and pearlescent paints I´m using in my new paintings. Employing these shimmering hues, whose appearence is so easily altered by the subtleties of their application, has been a true test of the printmaker´s art.«
Somebody / Nobody 1998 From the portfolio Sequences Two silkscreens, printed in 23 or 14 colors (Day-glo, metallic and pearlescent), with embossing, on Arches rag paper. Each print 50 x 40 cm (19¾ x 15¾"), each signed and numbered. Edition of 60.
Static Wallpaper 1998 From Wall Works Silkscreen prints in 16 different colors, pasted directly onto a wall, with optional installation of any work by Halley hung on top of the wallpaper. Wallpaper 76 x 94 cm (30 x 37") per sheet; Iris prints 89 x 119,5 cm (35 x 47"); installation size according to the wall. Limited to 15 installations, all different in configuration, with a signed and numbered certificate.
For Static Wallpaper (here with Smoking Cell), as for his 1997/98 Museum of Modern Art installation, Halley not only displays his works on the walls, but covers the wall(s) with wallpaper of computer-generated design. There is not a single, fixed form; these works can be realized in a number of different sizes and configurations, all of them equally valid.
Organizational Charts 1990 Portfolio of four silkscreens on mylar. 1 Is it an Arrival or a Departure? 2 Final Attributes 3 Limited Partners 4 Station, Cell, Factory Size originally 79 x 98 cm; most of the edition revised in 1993 and trimmed to: 1 83 x 57 cm, 2 62 x 68.5 cm, 3 58.5 x 77.5 cm, 4 50 x 71.5 cm. Edition: 50, each signed and numbered.