Since the mid-1980s, Halley has been making quasi-abstract paintings with compositions that allude to the work of earlier American modernist artists such as Josef Albers (1888-1976, see 66.23) and Frank Stella (b. 1936, see 1975.725). But Halley's use of motifs such as rectilinear forms, buildings, cells, barred windows and underground conduits lead towards a redefinition of geometric abstraction that both criticizes the use of pure geometric forms and are symbolic likenesses of the constructed modern environment. In this work, Halley's signature multi-textured surface and use of Day-Glo paint simulate the harsh visual excitement of contemporary electronic culture.

---