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David HallidayMirrored Lake (Sepia tone Louisiana Landscape Photograph, Unframed))1999
1999
$1,800
£1,382.87
€1,588.91
CA$2,531.92
A$2,844.50
CHF 1,486.26
MX$34,718.48
NOK 18,871.12
SEK 17,763.18
DKK 11,857.01
About the Item
sepia toned silver gelatin print, edition 15/25
17.5 x 17.5 inches unframed
Sepia toned silver gelatin print of a serenely still lake in Louisiana
When Time Stands Still. The Photographs of David Halliday
Whether traveling to a foreign land, wandering through a neighborhood marketto shop for food, or engaging in convivial conversation with a friend at his home,David Halliday is easily charmed, intrigued, excited, or amused by all that surroundshim. An artful documenter of life, Haliday uses his camera as a tool for recording themultitudinous special moments that capture his attention. Once in the darkroom, heeditorializes his finds, subtly embellishing each image until it somehow evokes thesensation that led him to photograph a subject in the first place.
With the exception of a series of platinum print portraits, Halliday produces all of hisphotographs as sepia toned silver gelatin prints. Both processes are highly trad-itional and, in requiring that the artist avoid the use of any color other than sepia,they stand in sharp contrast to splashier modes such as Cibachrome, Polaroid, or digitally produced Iris prints […]. For Halliday, the warm tones afforded by age-old processes reflect his desire to reclaim the past or cherish the present in the form of soft, tranquil, frozen moments in time.
Concurrent with his preoccupation with objects and still life arrangements, Hallidayhas photographed a considerable range of landscape settings, having travelled notonly to Tonga, but also to such varied locales as Portugal, Iceland, Indonesia, andIreland. Additionally, the Louisiana countryside not far from his home in New Orleansand the beaches of Massachusetts, where he has friends and family, have providedhim with endless stimuli for his camera's lens.
Establishing intimate connections with his subjects has always been important for Halliday, whether photographing the exotic residents of Tonga or youthful high school bands preparing for the annual Mardi Gras in New Orleans. As with objects or places, he photographs the inhabitants of the planet with unbridled reverence for the beauty and value of life. And lest time pass too quickly, Halliday will continue to use his camera to slow it down ever so much…just enough to freeze it for eternity.
(excerpt from an essay by David S. Rubin for the catalog of the exhibition When Time Stands Still. The Photographs of David Halliday at the Contemporary Art Center, New Orleans, July 13 - September 15, 2002)
- Creator:David Halliday (1958, American)
- Creation Year:1999
- Dimensions:Height: 17.5 in (44.45 cm)Width: 17.5 in (44.45 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Hudson, NY
- Reference Number:1stDibs: LU22716362042
David Halliday
David Halliday's photographs are about beauty, pure and simple. His primary subjects are carefully composed still lifes, portraits and landscapes which he shoots in black and white film with only natural light. He is a purist behind the lens, rarely manipulating his negatives in any way and a master in the darkroom. His work has an ethereal quality that's translated not only through the subject, but also by the warm colors and sepia tones he uses in his printing.
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sepia toned silver gelatin print, edition 1 of 25
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Frame is dark brown wood molding, 8 ply antique white mat and glass
Sepia toned silver gelatin print of a serenely still lake in Louisiana
When Time Stands Still. The Photographs of David Halliday
Whether traveling to a foreign land, wandering through a neighborhood marketto shop for food, or engaging in convivial conversation with a friend at his home,David Halliday is easily charmed, intrigued, excited, or amused by all that surroundshim. An artful documenter of life, Haliday uses his camera as a tool for recording themultitudinous special moments that capture his attention. Once in the darkroom, heeditorializes his finds, subtly embellishing each image until it somehow evokes thesensation that led him to photograph a subject in the first place.
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