Peter Halley (1953~ ) has shown the ‘geometrical abstraction’ through his works since 1980. His works are divided by times depending on the changes in styles and media. The purpose of this paper is to take a look at paintings produced in the 1990s and installation works. Halley has applied various sociological theories of different types to his works while bringing in forms from minimalism, pop art and color field paintings. He expressed ‘a prison’ by drawing ‘bars’ in a ‘square’ in the early 1980s, and conveyed sentiments of loneliness and solitude felt while residing in the metropolitan city of New York. The icon of the ‘prison’ was expanded into the concept of a space of digital technologies, developing into social ‘constraints of space.’
The art circles in the U.S. were in turmoil due to the shock from the AIDS and the Gulf War in the 1990s. Halley thought that making new attempts in producing artworks was a way to overcome depressing social circumstances. In many of his paintings produced in the 1990s, interactions between the communications networks complicated due to technological advancement and independent spaces. He showcased mass-produced images gained from the computer and silk screen along with paintings as installation works in such public spaces as art museums, airports and universities. In particular, a cell connected to a text through a conduit in the printed flow chart represents an information system, controlling the targets for command. New changes occurred in his usage of icons while using new media. He has exponentially used the ‘explosive’ motive from the mid-1990s, modifying and changing the ‘explosive’ image in a series of installation works. While the images connecting a prison, a cell and a conduit produced in the 1980s represented a solid system, the image of ‘explosive’ stood for ‘the explosion of systems’ and ‘atomic bombing.’ Although Halley has used the same motifs since he showcased the geometrical abstraction, he has imposed social implications and messages to the geometrical abstraction endlessly by expressing the sensations of solitude and control, and social phenomena felt by the contemporaries in the modern world through such diverse artistic forms as paintings, lithograph and installation works.

Ⅰ. 서론
 Ⅱ. ‘사각형’의 도상학적 의미
 Ⅲ. ‘동시대 매체’를 활용한 설치 작품
 Ⅳ. 결론
 참고문헌
 국문초록
 Abstract

• 고은주(덕성여자대학교) | Ko Eun-Joo