Derbyshire, UK
Colin Halliday, Autumn sky and moor Curbar Edge 55 x 93cm, Framed, £1800
Colin Halliday, Autumn woodland, Oil on canvas, Framed, 50 x 100cm £1800
Colin Halliday, Sunshine wind and clouds, oil on canvas, 26 x 36cm, Framed, £600
Colin Halliday, Cornfield, oil on canvas, 40 x 40cm, framed, £800
Colin Halliday, Coppice Stanton moor, 26 x 31cm, Framed, £550
Colin Halliday, Beck, Oil on canvas, framed, 24 x 30cm, £550
Cornfield, 61 x 76cm, Oil on canvas, Framed, £2,000 - Sold
Spring, Oil on canvas, 92 x 92cm, £3000 - Sold
Colin Halliday, Wast Water with Shoreline, Oil on canvas, 46 x 33cm, £700 - Sold
Summer Fields, Oil on canvas, 50 x 40cm, £800 - Sold
Winter Moor, Oil on canvas, 97 x 127cm, £3500 - Sold
Wild as the wind, Oil on canvas, 10 x 28cm, £260 - Sold
Biography
1964 Born Carlisle
1987-88 Foundation Course in Fine Art, Carlisle
1989-92 BA (Honours) Fine Art, Exeter
One Person Shows
Sept 2014 “New Work” Tarpey Gallery, Castle Donington
March 2011 “An Illuminated Land”, GX gallery, London
Feb 2011 “The Earth Beneath us”, Mooch, Manchester
June 2010 Ridgeway, Bakewell, Derbyshire
May 2010 “From Pastoral to Sublime”, GX gallery, London
Sept 2009 Flannels, Leeds
Sept 2009 Barefoot gallery, Boston Spa, Yorkshire
June 2009 Ridgeway gallery, Bakewell, Derbyshire
May 2009 “Elements” GX gallery, London
July 2008 “The Romantic North” GX gallery, London
April 2008 “Back to Nature” STaRT SPACE, London
April 2007 “A Breath of London” STaRT SPACE, London
May 2007 “The Nature of Nature” Tregoning Gallery, Derby
July 2007 “A sense of place” GX Gallery, London
June 2006 “English Landscapes” G.Expectations, Camberwell
March 2005 “The Smoke and the water”, G.Expectations, Camberwell
Oct–Dec 2004 Mayer Brown Rowe & Maw, Pilgrim St. London (represented by Collyer Bristow)
June–July 2004 “From City to Sea”, Great Expectations, Camberwell
March–April 2004 Seascapes at the Sea Cow, East Dulwich
September 2003 “Great Expectations”, Camberwell
October 2002 The Walk Gallery, London
April–June 2002 “The Beautiful South”, Simply Nico, London SE1 (represented by Papermint)
June 2001 “Lost Wilderness”, Blyth Gallery, Manchester
June-July 2000 “The Twenty First Century Landscape”, Sutton House, Hackney
April 2000 “Aretrospective”, The Walk Gallery, London
Jan-March 2000 “The Promised Land”, Harrow Arts Club
October 1999 “Future Landscapes” Knapp Gallery, Regent’s College, London
February 1999 “Landscape in Consciousness”, The One Below Gallery, Telegraph Hill, London and continuing in June at Grey College, Durham
March-April 1997 “Fools Paradise”, The Sun and Doves, Camberwell
February 1994 “Somewhere between preservation and destruction”, Carnegie Arts Centre, Workington, Cumbria
Commissions
Macmillan Trust
Earl of Scarbrough
Cancer suite, Rotherham NHS
Artist Statement
Brought up on a farm in rural Cumbria means the landscape and nature is what excites me and will always be my subject of choice.
I started painting outdoors seven years ago and it has gradually built up to the point where that is nearly all I do. How and what materials I use has changed a lot in an attempt to find my way into this glorious subject matter. Gone are the accidents, drips and smudges to be replaced for the last two years by a thick generous application of oil paint. A conscious decision that the accidents were a step removed and had become to easy almost that if I had continued it would become formulaic and to easy. It felt removed because it wasn’t all in my control and making each mark more directly feels closer, more honest, hand made and unique.
The thick paint makes it more like an object in its own right and less about the illusion of being real and more if you like “real”. A reminder that this is not the actual landscape it is a painting of it. There is no attempt to hide the fact this is paint or its application. This is something that separates out modern landscape painting from pre 20th Century and in my view was far to quick to become old hat in the contemporary Art world considering that Artists used to hide their application before then. It feels like in our rush to invent the new we didn’t properly explore the possibilities.
In addition the thick paint makes the painting more alive in the way that as you move around the work it subtly changes as the different lighting effects it and as a result to me seems far more complex and interesting than flat paintings.