Halton grew up in a family of artists, including her maternal grandparents and mother. She remembers her early art-‐making as both a refuge and a way to make sense of the emotional vagaries of family life. During Halton’s years as an undergraduate she encountered the work of Jean Dubuffet. He was a seminal discovery for her, for his ability to access the dark side of inner life, and direct use of raw materiality. Other painters important to Halton’s development have been Jackson Pollock, for his intuitive layering of paint in over-‐all compositions, and Philip Guston for his bold drawing and existential examination of self.
Color has played a crucial role in Halton’s work, moving from the pastel colors of her graduate student, to the darker palette of her post‐school years, to her present use of jewel-‐like hues, often contrasting with fields of white. From the beginning the role of figures was central, ranging from cartoon-‐like, graphic images to more gestural forms. It is the pictorial space between the figures and forms that has continually evolved in Halton’s work.
Her recent body of work displays a growing vocabulary of mark-‐making, a refinement of technique and a deepening psychological engagement. In 2013 a family tragedy precipitated her beginning to use clay. The physicality of the material allowed Halton to explore her emotions while also opening up to new ways of looking at the larger social issues brought up by the tragic event.
She has shown extensively at the Orange County Museum of Art, Baltimore Museum of Art, Clayworks in Baltimore, OK Harris Works of Art, New York, Gallery K, Washington, D.C., Malton Gallery, Cleveland and Gomez Gallery, Baltimore. Halton’s work is in the collections of the U.S. State Department and Kenyon College, and numerous private collections.
She was recently awarded the A.I.R. Vallauris in France, a solo exhibition at Stevenson University and will be a 2018 NAEA National Convention presenter.