I've decided to continue with Native Indians!

From my research of Native Indians I feel connected to them; they share the same beliefs as I do with animals and the earth. They believe that everything is sacred, from the largest mountain to smallest animal or plant. They respect their creator, mother earth and all of her creations. I want to show this is my piece; I want it to show respect towards nature by using only natural substances and I felt this really worked with my project title ‘Spirit of the horse.’ How can I expect to really represent the spirit of the horse using paints manufactured by man with chemicals in them? Using natural resources I feel like I can make a connection to the animal, especially as most of my sources will come from my horse or were in contact with him. Using his own used bedding and hayledge to his poo will bring a piece of him into my work. The real him, not a copy outline of his form at best, but the him I see every day, work with every day and love.


The inspiration to use natural substances came from the day I painted Rocky with creams and got really interested in war paint. I looked into the meanings for all the colours and symbols and loved that the paint was made out of natural resources. I found a book in the library about Native Indians and looked more into their art and use of animals. The buffalo was their source for almost everything they needed to live and I found in one book a picture of an Indian painting on a stretched buffalo skin with clays and berries. 
An example of a painted skin.
Source: http://www.nebraskahistory.org/exhibits/saving_memories/

Painting on Rocky

Link to YouTube video of me painting on Rocky with horse creams> CLICK HERE

I decided to try painting on a new surface and what better surface than a horse? I loved the idea of working on the very form I was trying to create, it felt so much more hands on and I felt a better connection to the horse, the connection I've been trying to get with my work. The horses that came out on rocky were far from proportionately accurate but they were far more exciting than the ink drawings I'd done earlier this month in my A3 sketchpad. They felt like pretty Chinese/Japanese art symbolizing beauty and perfectness. -Far from what a horse really is, horses are flawed like us, they'll fart in your face when you pick out their feet and stomp on your toe. These painting I did on Rocky I feel are so much closer to what I want to show with my work, they feel realer and closer to the spirit of the horse.
I had some fun smearing the cream on my hands and painting hand prints on Rocky and this random bit of fun actually completely inspired me to look into Native Indian war paint!

I've been looking into the mark making and meanings of symbols that Native Indians use and am completely fascinated by the respect I've found for the horse in
 the culture.

I’ve kind of hit an interesting wall at the moment as I wanted my horses to stay as natural and close to what I imagine the very spirit of the horse would be and represent it in my art. But I’m getting more and more interested in the Native Indian relationship to the horse and spirit of the horse. Unlike other human relationships to horses such as modern English riding, Western riding and even the use of horses in war time I feel like the horse is never as respected and valued as the Native Indians do. I’m not sure where to go with this and so I’m going to do more research into horses used in war and the very spiritual side to Native Indians and their animals. I feel like this will better form my understanding of the use of the horse and how oppressed they are by us. Can Indians use the horse without oppressing it? Relating this to me and my horse, I ride very naturally without the traditional saddle and bridle.

My horse is ridden in a halter or parelli collar bareback and sometimes without any tack at all. I found that when I rode him when he was younger in tack he felt tight and wooden; he never felt fluid in his movement and would always have problems tripping on his front and dragging behind. My horse had problems properly engaging in canter and to motivate him to trot was horrid! The transition to tackless was hard for both of us at the start.. I found it hard to balance without a saddle and he found it very difficult to ride forward without the bit as support as my horse often uses the bit contact as a source of confidence. Without that connection to the rider he is very nervous and often will pause when in a new situation or when frightened. So as time went by without that contact he grew a new confidence in just me and our body contact, where we could read each other, what we wanted from each other with the movements of my hips asking him to bend and just feeling his muscles working underneath me. You can feel the horses muscles tighten when they’re anxious or excited or feel when they’re ready to make a gait transition from trot to striking into canter on the right leg.

I feel like humans have tried to contain and control the horse with all these gizmos we can put on them and it’s just pushed us farther and farther away from each other. If you can put your trust into the horse, show the horse that you trust them to carry you willingly without the back up of all these fixes on them, I feel like you’re making a mutual commitment rather than always just asking from the horse. Asking the horse to trust you with when to jump, turn, transition. I feel like the Native Indians felt the same as me and respected the horse and their feelings. Their tack is made with consideration for the animal not with the desire to control the animal. They often ride saddleless and therefore don’t need to tug and hold onto their horses’ mouth with metal but ask with their body language for the horse to slow and run.

The more I look into Native Indians and modern day Parelli [natural horsemanship] the more I see it as less and less of a control over the horse but more a way for the real spirit of the horse to come out and be shown. A horse will frolic in a paddock with its paddock companions and run wild with a herd but they can be very docile animals grazing for a great proportion of the day. But with the natural assistance of a human being the horse form can be expressed and conveyed. It almost makes this natural spirit more beautiful when there’s harmony between two spirits.

I'm confused now and will have to give it some thought. Is this what I want my work to represent? Do I want to expand the spirit of the horse or maybe show the spirit of the horse in war? I don't know yet. I'm going to do some further research into Native Indian culture, spiritualism and respect for animals.

Chalk, graphite, paint and a rubber

These drawings are inspired by my sudden interest in Native Indian war paint. This is my experimentation with this theme of war in mind, the hazy graphite smudges that are erased back through are how I imagined the setting of dust and hoof beats. The rings around the horses eyes and noes symbolize good sight and smell through this dusty, distorted scene. The colors mean endurance and wisdom.
This horse is in a similar setting to the other two but I wanted to compare a horse without war paint as I'm still really conflicted about over contaminating the horses. I don't want my horses to become tainted by man, but what really pulls me back to this war paint idea is my question, did the Indians really taint horses and use them?

Chalk and paint experimentation







I'm still really quite lost as to where I want to take these horses at the moment. I'm currently trying to work loosely with the basic black, white and grey and make the horses look free and messy. I think they're closer to expressing the spirit of the horse but still definitely lacking, so I'll continue experimenting in different mediums until something feels right and feels like a horse to me.

Sunset clips of Rocky

Click for YouTube video!

Ponies by sunset

A collection of video recordings of ponies in a paddock by sunset with interesting colour effects from the lighting on the horses and blackouts against the sun.
Click for YouTube video!

Chalk horses!








I really wanted to push away from the confinements of paper and border boundaries.So I took some chalks out to Rocky's stable and drew on the concrete. This was rather spontaneous so the colours are random and the legs disappear.

CLICK >
Link to video of creating chalk drawings on YouTube!

Ready mix paint and sand/stones experimentation

To break away from using traditional mediums I tried mixing ready mixes with sand, grit and stones. Pouring on the ready mix, straight from the bottle created some exciting unexpected lines and shapes  that worked really well to loosen the paintings.








Chalk and charcoal drawings

Some of these drawings worked really well and come out expressive but really feel to me like they're a bit empty and lifeless. Like they're missing bulk. I need to work on building more into them possibly with different mediums?






Developing paintings


Click for>
(Much better quality YouTube version)

Little animations

A collection of progression drawings, trying out different ways to express the horse movement in inks.

Painting experimentation & Egon Schiele


I really wanted to work on something that wasn't paper and am really glad I did as these cardboard/multimedia paintings are much more exciting than the repetitive ink drawings I was coming out with. It also gave me a chance to work a lot bigger than the paper I was used to so I could really push the space and use bold full arm paint strokes.
A lot of this paint was applied using all sorts rather than a paintbrush like twigs to flaps of cardboard, stones and polystyrene. My favourite effect was from the polystyrene where it dotted and bits broke off and stuck on.



CLICK>
Link to YouTube video of development of these paintings!

Egon Schiele 

I'm looking at Egon Schiele's figurative paintings and drawings because I think he is more the direction I want to take from here. For a while I was comfortable working with the pretty horse form with inks in my A3 sketchbook but I think that is far from where I want to be.

So I'm looking at Egon's work because of his subject. Egon drew and painted people, mostly women and himself but what I find so important about his work is that unlike most of us he wasn't focused on 'societies perceived perfection' when he painted, his works are so organic and real. His subjects are in ways the supposedly 'less desirable' of society. He often drew prostitutes or anyone who would pose for him. He didn't draw and paint to create something that looked attractive and pretty for someone to hang on their wall and admire as a false representation of humanity. He wanted to show the real thing and so some of his work has it's uncomfortable bits that make it so real.

What I also really like about his work is that he uses himself a lot as a subject to draw and paint. He subjects himself to the same treatment as he does the women, so that he isn't exposing just women in all their naked, unmasked by society goodness but does the same to himself. He exposes his true self.

The reason I find this so interesting and relatable to my work is because that is where I want to end up with my work. Even if I don't get there by the end of this project I want to make a step in that direction. I don't want my work to be a pretty representation of the horse I want it to be the real thing. As real as Egon's slightly crude, nude paintings. I want to expose that true side of the horse that man has done so well to cover up and hide with a veil of perceived perfection.

I think theses paintings are one step in the right direction away from perfection and more into abstract feeling of the horse.

Horse sounds


Recordings of horses in a paddock eating an apple and sniffing/snorting.
While trying to show the spirit of the horse I've been caught up in the visual image of the horse. When really a horse makes noise, feels hot and warm, smells and excites our senses in so many more ways than just the way we see them.
So I went out to record some noises to just take away that image and see if there is still the same effect.. If anything I think there is a stronger effect hearing the noises than seeing images of drawings.. The drawings make you think of what you see, a prancing pony. But the noises make you think up your own images from your own knowledge of the horse that's triggered by those sounds. Even if you have no memories of ever having been around horses, the noises alone could create a totally unique image to you according to what you associate with those sounds. Which I think is stronger than our visual sense we rely too much on.

This is why I've decided I want to break away from just producing graphite sketches on paper as I don't think I'm going to capture the essence or spirit of the horse alone on paper. So change of plan to my only draw in sketchbooks idea! But I think when I'm finished a mixture of different works in different mediums will be more visually exciting and if I experiment far and wide I'll have a much better chance at achieving my brief. Because at the moment I'm not really sure what I'm trying to show, I mean I know I want to show the spirit of the horse but right now I'm not fully sure on what I even think that is.

3D scupltures & Mark Wallinger

Made using twigs, leaves, wire etc.. I wanted to try making a more physical representation of the horse and 3D seemed like a good direction for that.








This is the 'horse' that started me working in 3D, I was up late and wanted to try something completely different to drawing and painting. It looks more like a deer/muntjac/bunny.









I've also started looking at Mark Wallinger and his public horse art. This year he made a life size statue of a shocking white horse, unmounted and untacked. I don't think it's a very true representation of the spirit of the horse as the horse is very obviously human domesticated in its appearance with its short well kept mane and similar tail and solid all over muscle and good weight without a grass belly.

Something I found really interesting to read was part of this article I found by The Independent;
"In any equestrian statue, the horse exists to exalt or to set off the man who is its mount. We are also being persuaded that something of the power and the musculature of the horse itself seeps into the very veins of the man, apportioning him some of its animal strength and vigour.
Wallinger's horse feels both related and unrelated to all these equestrian manifestations in a number of interesting ways. It is unmounted for a start, and it is nothing but horse without tackle, wholly unencumbered. It is not there to be seen in relation to the one who subjugates it or shows himself off at its expense. It does not exist to point a tale, martial or monarchical. Being quite shockingly white – especially when the sun blazes out – it puts us in mind of England's bevy of white horses out in the landscape, those strange apparitions in white silhouette that exist on our chalky, gently rising hillsides as we shift towards the West, and whose symbolic importance we often find ourselves musing upon as we rush by them in train or car."

Source: Link to source

This works well with my belief of how man is commonly known for representing the horse throughout history in art. The piece of his I'm really interested in is his plan to create a bigger than life size massive white standing horse. Again he plans to make this horse unmounted, but unlike his work this year he wants the horse to wear a black head collar.

I think this shows the oppression and control man has over the animal. It is a sculpture that will show the control man has over the animal, the ownership. His public art will be a massive showing of just how well man controls its animals. Because us humans do suppress our animals by domesticating them. We put all these man made contraptions on them and it takes away at the part of the horse that makes it a horse. The natural spirit of the horse is contaminated by our control.