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Watching horses has always been as satisfying to me as drawing them. Their musculature and shape, what maintains balance for them as they move, whether slowly grazing across a field or spontaneously bucking on a spring morning. I think I digitize images in my brain somehow, and later I pull out the drawing pads and start to work.
Much of this work is minimal, in the form of energetic impressions, in living color.
Often monochromatic; suggestive or interpretive, I am profoundly, energetically connected to horses: my muse, my artistic language. Images distilled from my visual memory are imbued with my own distinct blend of form and abstract stylization. I use vibrant colors and dynamic shapes to tell my story.
In clay and sculpture the three-dimensional palette is a natural one for me; I feel I express a clarity not only through the complex equine anatomy, but about their highly sophisticated, emotive elements as well.
I try to refrain from being labeled an "equestrian" artist, however, because my art of expressing this equine form has always been more urbane, more dynamic, formless and full of the vivid colors and stylistic abstractions of modern art.
This has led me to experiment in the completely abstract realm, often large scale, as a personal journey into pure expressionist color and form. Horizontal and vertical horizons; the sublime movement inherent in color; and the endless landscape that largely becomes self-portraiture.
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