Perry Hall approaches painting as a time-based medium similar to choreography or performing music. He creates the traditional line form color surface but also adds painting behavior-- ways in which paint transforms and moves over time. His artworks, which integrate painting and filmmaking, are created by using natural dynamic forces (turbulence, thermodynamics, magnetism, gravity, chemical reactions) instead of any digital processes. None of his artworks are created using computers or software. His ongoing project explores the relationship between painting, nature and technology and questions the notion of what painting can be.
Group shows and exhibitions with artists Tony Oursler, Olafur Eliasson, Andreas Gursky, Julie Mehretu, Tom Sachs, Alex Grey, Kimsooja, Spike Jones, Herzog & De Mueron, Jean Nouvel, Vik Muniz and works by Roberto Matta in group and solo exhibitions at the NeueNational Gallerie, Berlin, Artists Space in New York, the Centre FRAC in Orleans France, Pekin Fine Arts, Beijing, China, Diana Lowenstein, Miami, The Tokyo Art Fair, The Williams College Museum of Art (solo exhibition, 2006) and the Smithsonian's Cooper-Hewitt National Design Museum in New York.
Recently, he's been performing live visuals onstage with Icelandic band Sigir Ros.
Seven of his works are included in the permanent collection of the Centre FRAC in Orleans, France.
His painting work is included in the Academy Award winning film What Dreams May Come and can be seen in actress Scarlett Johansson's eyes in Luc Besson's motion picture Lucy.
Commissions include artworks for the New World Symphony in Miami, the Adelaide Festival In Australia and the Blinc Festival in the United Kingdom. In 2009 he was shortlisted for a $2 million public art commision by the Miami-Dade Art In Public Places.
He was a 2015 Artist Fellow at Parsons School of Design, New York.
Perry has presented / lectured on his work at a variety of cultural institutions including Columbia University in New York, The University of Berlin School of The Arts, The Southern California Institute of Architecture in Los Angeles, The University of Central London as well as Industrial Light and Magic in San Francisco, California. He's received press in a diverse range of media including The Huffington Post, Flashart, Wired journalist Steve Silberman's blog at the Public Library of Science, Motherboard, Evolo Magazine (cover) as well as the Hollywood Reporter.
Although he has no formal training in architecture, over the last 17 years (1999-2016) he has been an invited artist at architecture schools around the world as juror and critic, including The London Architecture Association, Columbia University GSAPP, The Southern California Institute of Architecture in Los Angeles, Pratt School of Design in New York, University of Pennsylvania School of Architecture and RPI in Troy, New York, where he was a keynote speaker at the International Smart Geometry Conference presented at EMPAC (2011).
An innovative electric bassist, his music and sound art have ben heard at The Smithsonian National Design Museum in New York (2003), the Adelaide festival in Adelaide, Australia (2015), the Blinc Festival in Wales, United Kingdom, Theatre Artaud and New Langton Arts in San Francisco and the San Francisco Art Institute, with commissioned music (age 20) for choreographer Margaret Jenkins. Known as inventor of the "slack" bass techniques, he has recorded with guitarist-composer Elliott Sharp and performed with drummer Matt Chamberlain, amongst others. Recent recording projects include Haunted By Light (2015) and The Never Pattern (2015), both recorded entirely on electric bass.
Creator of Sonified, the first consumer sonifying video camera (2011) which translates visual information into sound in real time.
Although considered "formally self-taught", he attended Bard College at Simon's Rock (at age 16), Berklee College of Music in Boston and the University of California at Santa Cruz.
Photo Credit: Laura Burt