Descripción

At the height of postmodernism, just as the digital world was becoming a reality, Peter Halley revitalized painting by affiliating his work with sociology and science fiction. Employing lowbrow, commercial media—fluorescent colors and Roll-A-Tex, an additive used to surface suburban architecture—he debunked painting’s high art connotations. Deconstructing early- and mid-twentieth-century geometric abstraction, he transposed its rectangles into structures he referred to as “cells” and “prisons.” He then connected these with straight lines, or “conduits,” to imaginatively access outside forces.