Shadow Conspiracy, 1996
Acrylic, fluorescent acrylic, metallic acrylic, and Roll-a-Tex on two adjoined canvases
182,9 × 243,8 cm
Reconsidering the work of Piet Mondrian, Josef Albers, and Donald Judd, Peter Halley employs geometric abstraction to develop his unique approach to painting, defining his renowned iconic style.
Encouraged by New York’s intense urban environment and the burgeoning flow of information generated by computer technology since the 1980s, Halley conceived a formal vocabulary of squares, rectangles, and bars as coded referents to the pervasiveness of geometry in modern life.
Shadow conspiracy (1996) is a part of a significant cell-and-conduit painting series created in 1990s. This work is characterized by a harmonious blend of diverse surfaces and rich colors, highlighted by a distinctive combination of vibrant purple and striking violet, which prominently command the composition. Multiple bars interconnect and overlay squares and rectangles, masterfully merging the dynamics of geometric structures with the graceful architecture of classical painting.
Peter Halley, International With Monument Gallery, New York, April 1986
1987 Biennial Exhibition, Whitney Museum of American Art, New York, Mar-June 1987
Horn of Plenty, Stedelijk Museum, Amsterdam, Jan-Feb 1989
Carrol Dunham and Peter Halley, Margulies Taplin Gallery, Miami, 1997
1987 Biennial Exhibition, Whitney Museum of American Art, New York, p. 59
Horn of Plenty, Amsterdam, Stedelijk Museum, 1989, p. 99