Remote. 1999.
Acrylic, fluorescent, metallic and pearlescent acrylic, and Roll-a-Tex on canvas .
Signed, dated and titled on the reverse. 189 x 183 cm (74.4 x 72 in). [AW].

• Halley became widely noticed in the early 1980s with his geometric paintings in fluorescent colors.
• In addition to form and color composition, Halley's third element is the surface - he integrates three-dimensional reliefs into his works.
• Particularly beautiful composition with fields in both well-balanced colors and a haptic appeal.
• Works by the artist can be found in renowned international collections like the Guggenheim Museum, New York, the Museum of Modern Art, New York, and the Tate Gallery, London.

PROVENANCE: Sandra Gering Gallery, New York.
Private collection, Istanbul, Türkei (acquired from the above).
Private collection, Istanbul, Türkei (acquired from the above).
Private collection North Rhine-Westphalia (acquired from the above in 2018).

"Ever since I became an artist, I've asked myself, why does painting still exist? I’ve lived through the death of painting and all arguments about paintings. My theory is that paintings are unique because they stimulate the brain both as images and as tactile experiences. A great painting is one whose texture interests you, like in Van Gogh or De Kooning. Even if you don't touch the painting, it appeals to the tactile part of the brain. That's what my paintings are based on. Texture doesn't have to be hand-made. Perhaps painting is popular because, by stimulating two pleasure centers at the same time, painting yields a unique intense pleasure."
Peter Halley in an interview with Alexandre Stipanovich, Kathy Grayson and Jeremy Liebman for Opening Ceremony New News, April 15, 2013.