Since the 1980’s Peter Halley has been resolutely committed to a distinct reductive style of geometric abstraction formally known as ‘neo-geo’. In the paintings rough textured surfaces are a matrix of grids within grids with black lines that demarcate spaces. Color-coded squares or rectangles, and interlocking vertical/horizontal bands emphasize their connectedness. Halley’s vey specific abstract language is one of monochromatic palettes that vary from cool muted color combinations to more fluorescent Pop ones. Alternating between coarse and smooth these repeating patterns are painted with synthetic pigments on canvas. Acrylic, Day-Glo, pearlescent, metallic acrylic, and Roll-a-Tex paint emphasize the industrial urban aspects implied in his works.

The ambient colors employed by Peter Halley are very much in sync with our digital age. Relating to social spaces in a post-industrial society the painting’s simplicity belies their very considered approach to an art practice that remains consistent. They have an organizational structure akin to architecture and municipal planning and are schematic like a flow chart. Each component of the picture is a cell. A cell is a unit, compartment, or nucleus; it can also be a prison. Cells and 21st century computer circuitry are the infrastructure of global civilization. For Halley this takes on a personal meaning in his relationship to societal structures. Resonating with the flux of daily life these paintings none-the-less offer the viewer a guilty pleasure. The have wall power and a visual dynamic that cannot be ignored.

Sportsman, globetrotter and bon vivant, Hubertus von Hohenlohe has seen it all and done it all.  Always in the middle of the action the trajectory of his journeys comes alive in vivid panoramic photographs. Berlin, Buenos Aires, Lisbon, Mexico City, Mumbai, NYC, and Tokyo are just a few of the cosmopolitan locations where he’s shot his signature point and shoot style of street photography. These unaltered action packed images are a tapestry of simultaneity, reflective surfaces, and unorthodox juxtapositions. Pop colors are dominant in montages rich in textures and ornamental detail. Hohenlohe’s filmic approach to narrative poeticizes the multi-cultural life he leads. Through the camera lens the intensity of the urban fabric is apparent; so much happens so fast its nearly audible. Within these well-edited compositions are abstract elements that further emphasize the surrounding infrastructure. They are ultimately Romanticist and decisively encapsulate a compression of our 21st century velocity.

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