Presented as a limited series of 35 works using a repeated clone “cell,” an extension of the artist’s Cell Grids (2015), the works are decidedly tactile and textured, and feature Halley’s hallmark use of bold color. The production of the series employed a concept proposed by Halley, cloning one of his “cells” made from Roll-A-Tex (commonly recognized for its use in popcorn ceilings). Using both mechanical and manual processes, the result is series of geometric works with texturally unique pigment relief. Inspired by Halley’s ‘Cell Grid’ paintings, a series which began in 2014, the work features Peter Halley’s hand-painted textured surface digitally rendered and “cloned” nine times. This collection of editions has been conceived through a mechanical process – to create the texture and relief of the work – as well as a manual process, utilizing pigments and paints commonly used in Peter Halley’s paintings.
“Color, Nine Times II” is informed by Halley’s interest in low-budget urbanization. Incorporating this theme into the process, Halley challenged his printers to clone a ‘cell’ of Roll-A-Tex (a textured material seen in popcorn ceilings) and repeat it nine times to create nine individual canvases, which are then bolted together into a tightly packed yet unstable jigsaw puzzle, reminiscent of vintage video games. An effect heightened by the push and pull play of volumes. The signature hues of fluorescent nuances of colors in “Color, Nine Times II” were made in Peter Halley’s Studio and were then applied to each canvas at the Printers Tech Lab.

Peter Halley has been the subject of major exhibitions at the Musée d’art moderne Grand – Duc Jean, Luxembourg (2023); Dallas Contemporary (2021); Schirn Kunsthalle, Frankfurt (2016); Kitakyushu Municipal Museum of Art, Japan and Museum Folkwang , Essen (1998); Museum of Modern Art, New York (1997); Dallas Museum of Art (1995); and Institute of Contemporary Art, London (1989) amongst others.