The photographs in the series Dark Skate were captured in various cities, Los Angeles, Miami, Detroit, and Vienna Austria. Each work is a self-portrait of the artist who attaches a light to her body and skateboards in the dark and through the long duration of exposure time (sometimes upward 45 minutes) the line of movement is recorded and the resulting images are each a trajectory of the artist's movements over time. The works blur the boundaries of photography and become drawings as well as records of performances as the lines of light behave as physical objects or break apart into flurries of abstraction. Images have ghost-like connotations, showing action with no trace of a figure and leaving an after-image of where but not of whom. Locations range from spaces appropriated by skateboarders, such as the banks of the Los Angeles River, dried out dams and underpasses to urban architecture indented for skateboarding, backyard ramps and skateparks. This performative aspect of the work also mark the boundaries of Halloran’s abilities as a skateboarder, the muscle memory from a lifetime of skateboarding backyard ramps and pools, and ability to mark her movements in the nighttime.

Works from the Dark Skate series have been included in solo exhibition at DCKT Contemporary, NY, La Montagne Gallery, Boston, Pulse London, Fredric Snitzer, Miami, FL, and numerous group exhibitions including Haunted: Contemporary Photography / Video / Performance at the Guggenheim Bilbao in Spain, Cash, Cans and Candy; Art and Commerce
BROTKunsthalle & Hilger NEXT, Vienna, Austria , Superficiality and Superexcrescence, Ben Maltz Gallery, Otis College of Art & Design, Los Angeles, CA, Skateboarding Side Effects, Terrace Gallery at Artisphere, Arlington, VA, The Rise of RAD: Contemporary Art and the Influence of the Urethane Revolution, Torrance Art Museum, Torrance, CA and has been reviewed in the New York Times, The New Yorker, LA Weekly, The Village Voice, and the New York Magazine among others.