In Halley’s work, linear 'conduits' connect arrays of ‘cells’ and ‘prisons' at right angles. At a small scale, the results call to mind circuit boards and microchips. Zooming out? The tectonic grid of a sprawling metropolis.
Almost a year in the making, our debut collaboration echoes the increasingly complex compositions of the artists' paintings – themselves a reflection of the increasingly complex world that surrounds him.
Peter Halley (he/him) was born in 1953 in New York, USA, where he continues to live and work. His paintings appear in the collections of major institutions including Tate, Whitney, Guggenheim and MoMA.
As an artist, I think of myself as a composer and the printmaker as an orchestra conductor.
Peter Halley, artist
At the outset, a multitude of ideas were on the table. Together, Halley and master printmaker Brad Keech distilled them into an ambitious, multi-process printing plan. Galaxia II is the result of extensive experimentation – including countless digital tests and hand-cut samples sent between Keech’s workshop and Halley's New York studio.
The composition combines elements from two original canvases. Interconnected solids nod to the rigid structures which underpin society – drawing on a language refined by Halley since the 1980s. In tandem, a narrow gold border encircling the print references the gilded surround of a medieval altar.
UV inks and a flatbed printer offer vibrant pigmentation and unmatched precision. Four separate layers are printed on thick grey paper – carefully selected for its unique response to colour, and the depth created when stacked and adhered.
Next, metallics! For decades Halley has appropriated the lurid colours and textures used by advertisers to demand attention. In paintings, this often entails textured industrial paints like Roll-a-Tex and Day-Glo. For Galaxia II, it manifests as a series of colourful foils applied to the surface of each print.
Foils are applied using copper plates, extreme heat and many tonnes of pressure. A lengthy process of trial and error paves the way to achieving the desired effect. Once foiled, the four composite layers are die-cut using bespoke metal plates. Precise die-cutting requires a wealth of expertise. A lifelong artisan was enlisted to help.
Assembling the layers presents one final challenge. They are painstakingly aligned using a bespoke jig to, at last, reveal the artwork envisaged by the artist many months prior. A pass through an etching press ensures that they stay in place forever.
Peter Halley signing prints in his New York City studio
What appears so simple is actually very complex and completely intentional. Within my 30 year career as a printmaker and graphic designer, this project has become one of my absolute favourites – it feels momentous.
Brad Keech, printmaker
Galaxia II
Galaxia II, an edition of 40, will be available on 13th June 2022.
Credits
Studio shoot by Matt Grubb for Avant Arte.
Behind the scenes images and videos courtesy of Brad Keech and Lamina.
