The World's Premier Equine Artisan & Lifestyle Magazine
Horses in art SPRING/SUMMER 2013
Inside: Cover Artist:
Misha Malpica
Contemporary Mixed Media Artist The Art of Cavalia by Photographer Lori Faith Merritt Constance Diane Funk Mosaic Artist & Author Wild Horse Inspirations Laura Jo Sherman & Beryl Faust-Hovey
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Spring / Summer 2013 Horses in Art 1
Thunder River
Jan Taylor
Prints available at www.EarthWindAndHorses.com
Beryl Foust-Hovey
Laura Jo Sherman PSA Signature Member
"Summer Afternoon" | 18" x 24"
"Benny" | Commissioned Pastel Painting | 12 x14
971-237-8281 www.berylfoustpastelartist.com 2 Horses in Art Spring / Summer 2013
"Shakers and Movers" | 12" x18"
www.LauraJoSherman.com
laurajos@msn.com
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Are you seeking the perfect work of Equine Art for your home, office or loved one? & lifesTyle mAgAzine
Horses in art
The World's Premier equine ArTisAn
SPRING/SUMMER 2013
2 0 1 3 EquinE ArtisAn DirEctory Directory Cover features "Aqua"
om
by Kim McElroy www.spiritofhorse.c
Your search is over.
www.horsesinart.com
to view or download this exclusive FREE Directory today! www.HorsesInArt.com
Spring / Summer 2013 Horses in Art 3
Horses In Art
Letter from the Editor
— SPRING/SUMMER 2013 —
Dear Subscribers and Horse Lovers,
Creative Services Davina Andrée Long Creative Director
Publisher / Editor Davina Andrée Long
The Horses In Art team wants to thank you for subscribing to our magazine and for your devotion to the passion we both share for equine art in all its many forms. Due to the high cost of printing, starting this year, Horses In Art has become a digital magazine and will no longer be available as a printed publication. Horses In Art will only be published digitally and bi-annually (instead of quarterly). We plan on returning to printed editions when our budget permits for the cost of printing. We're truly deeply grateful for those of you who stand beside us as we make this transition. We are thrilled to share this issue's featured artists which include our cover artist Misha Malpica and her exquisite Spirit Ponies, Constance Funk's equine-inspired intricate mosaics, Gene Devine's breath-taking photography and our exclusive interview by Lori Faith Merrit with Cavalia among many other deeply inspired artisans that find horses to be among their greatest motivations. One fabulous perk to our going digital is our NEW Equine Horses in art Artisans Directory that will be available free and online to the public. Requests from the general public looking for specific genres of equine-related artwork or artist contact information 2 resulted in this exciting new feature. This is a great source for finding new horse artists! The directory will be updated 0 monthly to include more and more enticing art on every 1 level - from art to workshops to horse-inspired jewelry and 3 decor. The Horses In Art Equine Directory is one of the best EquinE ArtisAn D irEctory shopping guides ever for horse lovers worldwide. To all of our horse-loving readers I am most grateful for your support as Horses In Art continues to do our very best at bringing you the latest and greatest of horse art everywhere. May the horse and all its wondrous powers be with you always! The World's P
remier
equine ArTisAn
& lifesTyle m
AgAzine
SPRING/SUM
MER 2013
Directory Cover
features "Aqua"
by Kim McElroy
www.spiritofho
rse.com
Davina Andrée The World's Premier equine ArTisAn & lifesTyle mAgAzine
Horses in art SPrInG/SUMMer 2013
On Our Cover: “The Journey” Spirit Pony Malpica's Spirit Horses are one-of-a-kind and each American Indian totem animal is sacred. They are12" -18" tall, decorated
Inside: Misha Malpica
Contemporary Mixed Media Artist The Art of Cavalia by Photographer Lori Faith Merritt Constance Diane Funk Mosaic Artist & Author Wild Horse Inspirations Laura Jo Sherman & Beryl Faust-Hovey
www.HorsesInArt.com
Spring / Summer 2013 HorSeS In Art 1
with authentic turquoise, vintage beads, feathers, furs and horsehair. Visit her site at www.mishasart.com to see all her elaborate ponies that are sure to leave a hoofprint on your heart!
Like us on facebook! facebook.com/horsesinart
4 Horses in Art Spring / Summer 2013
Graphic Design Davina Andrée Long CaraLea Willoughby Subscription Customer Service info@horsesinart.com Advertising / Sales Lisa Crites Direct 940-337-1742 lisa@horsesinart.com Fax 682-292-3119 Contributing Writers Kim McElroy Precious Stahl Lori Faith Merritt New World Library Horses in Art 1854 FM 3043 Bowie, TX 76230 email: info@horsesinart.com www.horsesinart.com For any assistance or questions in regards to our former paid subscription accounts please email or send letter to the address above with your concerns, or click here to learn more>> .
by Misha Malpica
Cover Artist:
Contributing Editors CaraLea Willoughby Precious Stahl
Horses in Art (ISSN#1550-3127) is digitally published bi-annually and does not endorse opinions of its writers or assume liability for the claims of its advertisers. Editorial and advertising submissions will be accepted at the discretion of the publisher. All submissions are subject to editing. No warranties of any kind, specific or implied, are provided concerning the accuracy or timeliness of any published material. Horses in Art has undertaken no independent verification, with respect to infringement of copyright law, to ensure the originality of artwork that appears in editorial or advertisement. Omissions or errors will be compensated only by possible discounting of a future ad at publisher’s discretion. Copyright 2013, Horses in Art. All rights reserved. Reproduction in any form is prohibited without permission from the publisher. Printed in USA
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THE HORSE ART ENTHUSIAST
Resource
The Art of Cavalia and Exclusive Feature by Photographer Lori Faith Merritt, page 34
FEATURES
Mosaic Artist Constance Funk, page 16
6 10
Brady Willette Equus Lifestyle Photography Wild Inspiration: Mustang artists and advocates Laura Jo Sherman and Beryl Foust-Hovey share their passion and story on the plight of America's Wild Horses by Precious Stahl
16
Beauty from Brokenness Bits and Pieces of a journey to wholeness by Mosaic Artist Constance Funk
20 24
Equine Devine Photographer Gene Devine shares his inspiration behind his black and white imagery Our Cover Artist: Misha Malpica The Spirit of Enchantment Spirit Ponies created and adorned with loving and inspired paint strokes and elements of the earth
Artist Beryl Hovey and Laura Jo Sherman, page 10
Cover Artist Misha Malpica, page 24
30
Artist Ritch Gaiti From the canyons of Wall Street to painting horses on the open range
34
The Art of Cavalia Article and Photography by Lori Faith Merritt An interview with Elise Verdoncq of Cavalia’s OdyssÊo
42
A Talk with Linda Kohanov, author of The Power of the Herd: A Nonpredatory Approach to Social Intelligence, Leadership, and Innovation
47
2012 Horses In Art WAOW Award Winner Western Equine Artist Cheryl Harley-Volz Winning Art: "Like Peas and Carrots"
50
Cynthia Sampson Artist of the14 Hands Wine Label shares her love of the arts and horses
The World's Premier equine ArTisAn & lifesTyle mAgAzine
Horses in art SPRING/SUMMER 2013
55 Artist Ritch Gaiti, page 30
2 0 1 3
Horses In Art Equine Artisan Directory Your 2013 guide to the best Equine-inspired Art worldwide! From paintings and sculpture to mosaics and workshops!
EquinE ArtisAn DirEctory Directory Cover features "Aqua" by Kim McElroy www.spiritofhorse.com
www.HorsesInArt.com
Spring / Summer 2013 Horses in Art 5
Artist Brady Willette of the
War Pony Project
launches a new venture with
Equus Lifestyle Photography Studio
For nearly three decades, Brady Willette has been creating
with horse owners, trainers and breeders to further his artistic
professional lifestyle photography for advertising and design clients.
photography endeavors.
Then in 2009, he decided to start pursuing his long-time dream of
creating art of horses and the Native American Horse nation. The
either for personal enjoyment, promotion or advertising of
results of this dream are the incredibly powerful images known as the
equine operations or products. Taking a dynamic and modern
“War Pony Project.” Two of his pieces from this on-going series are now
approach to The Equus Lifestyle, he is constantly on high alert for
in the permanent collection of The Smithsonian, not to mention their
that spontaneous moment- that shot of you, your horses and
places in many private art collections.
your lifestyle that you thought could never be captured on film.
View his portfolio and learn more about The Equus Lifestyle at
Having owned horses and having a deep appreciation of their
beauty, quirks and sensitivities, Willette is happy to now be working 6 Horses in Art Spring / Summer 2013
“The Equus Lifestyle” is inspired photography to be used
www.equuslifestyle.com. Subscribe to our newsletter online at www.HorsesInArt.com
Aqua
Photo credit: Chris Marona
Kim McElroy This print of "Aqua" by Kim McElroy and many more available at www.EarthWindandHorses.com
www.HorsesInArt.com
Spring / Summer 2013 Horses in Art 7
The Crazy Horse Girl a poem by
Alicia Siddons g
When I began I promised myself I would not write about horses But my words are branded My syllables trot My rhythms are the beating hooves So here is my confession behind the whole obsession I am the crazy horse girl I won’t bow for you, Miss Popularity I bend to pick my horse’s hooves And paint my grubby nails with dirt I am the crazy horse girl I have no drama, no dripping mascara Your make up is a blushing rose But alas, you have the thorns to mask I am the crazy horse girl
I am the crazy horse girl And I have the perfect friend The forests are filled with freedom Waltzing with the wind If you don’t believe me Please contemplate this thought Have you ever had a massive horse, Stomp on your poor toes? Or your mother drive in her posh car Over your hot high- heels? Take my word if you’d like to keep Your pretty little pedicured feet My boots are ugly; black and mucky But they serve a finer purpose Than your silly fashion frenzy I am the crazy horse girl
I do not suffocate in lush perfume I bear the musk of soft, fresh straw I carry the scent of forest rain
In this I have no shame The stable is my castle My horse is my best friend So here is my confession, for I have no true obsession
I am the crazy horse girl
I am the crazy horse girl
I do not destroy my hair with dye Or straighten my natural knots in vain My wild waves flow as a lion’s mane
I shall not change It’s not a trend
Alicia Siddons, an 8th grade student has been riding horses for most of her entire young life. In her poem, she wanted to depict her passion for horses in a way that some others may understand. Photo above: Alicia is pictured riding her horse, Fair Play. Photography was taken by her riding instructor and professional photographer Marta Sylwestrzak - www.martasylwestrzak.pl © 2013 Do you have a poem about horses that you would like to share? Visit www.horsesinart.com to submit yours for consideration today! 8 Horses in Art Spring / Summer 2013
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Commissioned Portraits
Not merely a likeness, but a timeless work of art that celebrates the beauty, presence, and spirit of your beloved horse
Secrets of Drawing Horses DVD ~ $29.95
the Visionary Artistry
Kim shares easy and inspiring techniques for drawing that will change the way you look at horses
of
Visit Kim’s website
www.spiritofhorse.com and experience why she is one of the world’s most beloved equine artists
Exquisite Prints and Posters
A selection of over 300 works of art Custom made to order in a variety of sizes Kim McElroy’s ~ Spirit of Horse Gallery PO Box 1250 - Kingston - Washington - 98346 - 360.297.7736 www.spiritofhorse.com www.spiritofhorsecards.com Email: artist@spiritofhorse.com
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Inspirational Animated Musical Horse eCards
Sign up and send unlimited ecards sharing your love of horses for only $10 a year
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Spring / Summer 2013 Horses in Art 9
“We would like to provide public awareness of the Oregon mustangs with our paintings.” ~Laura Jo Sherman & Beryl Foust-Hovey
10 Horses in Art Spring / Summer 2013
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Mustang artists and advocates Laura Jo Sherman and Beryl Foust-Hovey share their passion and story on the plight of America's Wild Horses.
WILD n o i t a r i Insp By Precious Stahl In the high desert area east of the Cascade Mountains in Hines, Oregon, you will find a spot of something special awaiting you. Corralled and well-cared for BLM wild horses are waiting for caring and experienced horse people to take them to a new forever home.
To help bring attention and awareness to these wild descendants of horses perhaps ridden by Native Americans, Spanish Conquistadors and early settlers, a couple of artists have chosen to visit this site and put their talents to a good cause. Traveling to one of the Bureau of Land Management (BLM) Horse and Burro short-term holding facilities, artists Laura Jo Sherman and Beryl Foust-Hovey took on a personal project to promote these horses who came from the vast rangelands in Southeastern Oregon.
“We would like to provide public awareness of the Oregon
mustangs with our paintings. We have made several visits to the corrals and have seen beautiful horses in excellent condition. As captured horses, though, they will never be released back to the range so we would like to encourage adoptions. When we arrange
Opposite left: "Oregon Mustang" by Beryl Foust-Hovey
to publically show our paintings we will make arrangements to
Top right: "Adopted" by Beryl Foust-Hovey
donate to the horse program,� they explained.
Bottom right: "Flash" by Laura Jo Sherman
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Spring / Summer 2013 Horses in Art 11
"Mustang Round-up" by Beryl Foust-Hovey
When asked about why they decided to paint these horses
in particular, the answer seemed to come easily. “Availability. The corrals at Hines have a road going all the way around the outside. The road allows you to take your time and stop and photograph easily the different groups.”
Although it would be nearly impossible to pass the feeling
of seeing these wild horses in action on the open range, Sherman and Foust-Hovey admit it is much more practical and easier to see them in the corrals. The wranglers have them divided into groups, such as mares and geldings of certain ages, mares with foals, younger horses, and older horses. While this is beneficial for the artists, it is also quite beneficial for potential adopters.
As Beryl said, in reference to a visit during which a couple
was choosing a horse to adopt, “It was very interesting to watch the couple selecting and being helped to find just the right horse. The staff of three managed this efficiently and with as little trauma as possible. I have already made two paintings of that horse they have now named ‘Shok-ka.’”
Laura Jo added, “It’s also good to see horses that were living
wild, rough lives on the high desert range enjoying the comforts of easy food, water and safety. It was also very comforting to see the BLM staff managing the facility act as concerned professionals who put the horses first.” Now retired from a career in Human Resources, Beryl FoustHovey is able to devote all of her time to being a professional artist. Having minored in Art during her college years, her art was then put on hold until her retirement. Her pastel paintings are now shown in galleries and shows in Madras, Springfield, "Moon Shine" by Laura Jo Sherman 12 Horses in Art Spring / Summer 2013
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Sisters, Tumalo, Bend and Seaside, Oregon and she is looking forward to adding her newest additions of this BLM Project to her portfolio. Some of the inspiration for doing these wild horses came from the simple “beauty and condition of them. It was easy to be artistically inspired by them. There is a large variety of ages, sexes and of course color in the horses.”
Laura Jo Sherman agreed. Retired from
a long career as a public school art teacher, Sherman moved to Oregon and became a professional artist. She has been represented in several galleries and shows in the Bend, Oregon area and has earned awards and acceptance into juried shows throughout the country. Recently, she was honored to have won an award for an equine painting in the Pastel Society of New Mexico Show.
Choosing to paint the horses that inspired
them each, both artists have chosen to do them in pastels. Foust-Hovey explains, “I have used "Mare's Care" by Laura Jo Sherman
"Coming In" by Laura Jo Sherman www.HorsesInArt.com
Spring / Summer 2013 Horses in Art 13
oils, watercolors and colored pencils but found my niche when I enrolled in a pastel workshop in 2006. I like the freshness of the medium and unlimited selection of colors.” Sherman also prefers pastels because “the process is the most exciting for me. It makes for a very creative experience. I use pastels in an expressive manner to creature textures and movement in my paintings.”
With their talents having no shortage of inspiration to
draw from, both artists hope to showcase their paintings of these BLM horses to promote adoptions and also to simply bring attention to them. “We hope we will encourage at least a few people to travel to the corrals and adopt their special horse.”
As a follow-up with the artists, the new owners of “Shok-
ka” reported “he loves to be scratched” after having him in his new home for ten days. As with this horse and his new family, there are many positive stories happening with adopted mustangs and burros. If you are interested in becoming a new, positive chapter in a wild mustang’s life, please visit www.blm.gov/adoptahorse/ for details on their programs, policies and future adoption dates. Right: "Palomino" by Laura Jo Sherman Below: "Movers and Shakers" by Laura Jo Sherman
14 Horses in Art Spring / Summer 2013
To see more of Hovey and Sherman’s work, please visit their sites:
www.berylfoustpastelartist.com and
www.laurajosherman.com
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Dedicated to the preservation of wild horses & burros on our public lands before they are only a memory.
In 1995 Emmy Award-winning filmmaker Ginger Kathrens filmed a newborn wild horse foal in Montana. She named the pale colt Cloud and has documented him through the seasons of his life, bringing the beauty and complexity of wild horse society to a worldwide audience. Despite an Act of Congress to protect these iconic symbols of freedom, the Bureau of Land Management is on a course to manage our wild horse & burro herds to extinction... A Colorado Non-Profit Corp. unless we can stop them. Find out what you can do at: 107 S. 7th Street, Colorado Springs, CO 80905 - 719.633.3842 www.thecloudfoundation.org www.HorsesInArt.com
Spring / Summer 2013 Horses in Art 15
Beauty From
Brokenness Bits and Pieces of My Journey Into Wholeness By Constance Funk
Life is full of unexpected circumstances that can change the
that his presence would not be the same after all he offered us. It
course of our path forevermore. It is my belief these are not purely
was incredibly painful for me to go near the stable and I left buckets
accidental, but ways of shifting our perspective and priorities. Nudges
hanging on the fenceposts in the pasture untouched for months.
to wake up and live our lives more fully. To realize the gifts that we
have been given.
Journey Into Wholeness, I shared the story of how I began creating
Falling
totally
In my first book, Beauty From Brokenness, Bits and Pieces of My
in
my own mosaics. In short: My husband, Gary, and Evan surprised
love with our first horse,
me with a wonderful Italian dinner that they made for my birthday.
Chad, who came into my life
The then ten-year-old Evan, posing as a waiter, escorted me
when I was forty and our
to the table with a linen napkin over his arm and my mascara
son, Evan, was five, was a
brushed above his lip to create a moustache. After enjoying a
dream come true. Facing his death four years later
As I re-entered the room, I watched in slow
as a senior gentleman was
motion his elbow connecting with a stack of
completely
devastating.
Burying his huge physical form on our property was a
bittersweet
comfort,
but I could not conceive
antique bowls that I had collected over many years go crashing to the floor when he was rummaging in the cupboard below. Gary and Evan looked at each other and then at me when Evan wailed, “We’ve ruined your birthday!” delicious meal, they asked me to leave them alone to bake my favorite cake: carrot with cream cheese frosting. It was hard to protest such a gesture, even late on a school night, so I took the dogs upstairs and began to read. A few minutes later, I heard Gary hollering up the stairs, asking where we kept the grater for the carrots. As I re-entered the room, I watched in slow motion his elbow connecting with a stack of antique bowls that I had collected
Top Left: Connie's son Evan serving at the home bistro. Bottom Left: Close-up detail of "Horses Help Us Grow" Bottom Right: "Gaela Gateway Mirror" 16 Horses in Art Spring / Summer 2013
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Spring / Summer 2013 Horses in Art 17
over many years go crashing to the floor when he was rummaging in
as my studio where my healing and grieving his loss really began. I
the cupboard below. Gary and Evan looked at each other and then
continued to resist Gary and Evan when they suggesed we find another
at me when Evan wailed, “We’ve ruined your birthday!” Naturally, I was
horse, not ready to fall in love again so deeply again when the ending
disappointed, but reassured them that their idea to make my day
felt so sad.
special was what I would remember and that I would ask an artist
friend to help me make something meaningful from the shards. I called
of the healing process of art therapy that I have such a deep belief in
my friend the next day and she assured me that I should be the person
and now use in facilitating equine guided learning and development,
to create something out of what was so meaningful for me. She talked
thanks to mentors and friends, Kim Mc Elroy, www.spiritofhorse.com
me through the process and I was hooked. It made me realize that I had
and Sandra Wallin, www.chironsway.com
a lifetime history of creating art from ‘found’ and damaged materials-
--breathing new life into something discarded and unwanted. Creating
beautiful golden mare named Chasta. To say that Chasta turned my
‘beauty from brokenness’ became my motto for living, hence the title
world upside down, literally, and inside out would not only be true but
of my first book, with a mosaic as part of the cover art. Since I use
an understatement. For one thing, I was scheduled to give a class that
damaged vintage materials and other found objects, they are very
weekend on how to create mosaics and all of my supplies were stacked
much in the genre of what is known as ‘bits and pieces’ mosaics.
in the stable. They had been carefully labeled and arranged for me to
Creating mosaics after Chad’s death became a shining example
Another birthday rolled around and this time my surprise was a
pack in my truck and were now pushed off into corners to make room
It made me realize that I had a lifetime history of creating art from ‘found’ and damaged materials - breathing new life into something discarded and unwanted.
for fresh grass hay and my new equine teacher. What happened over the next years is recorded in my books, with the stories courtesy of the horses we have been so blessed to share our lives with---all thanks to Chasta and the soft-hearted guys who brought her home.
Kim McElroy introduced me to the very talented graphic
artist and designer, Davina Andree, who created my website, www.
Initially making pieces for family and friends, I began getting
woodylanefarm.com and did all the graphic art for my books. When
requests to take them to shows, retail outlets and have magazine
Davina came to visit our farm, she loved the equine-themed mosaics
features and teach classes. As I progressed in my ability and passion
I had on display. She asked me to be an equine mosaic artist on her
and outgrew my garden shed, I began using Chad’s wonderful stable
site,
18 Horses in Art Spring / Summer 2013
www.earthwindandhorses.com,
which
features
world-class
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artists who portray the beauty of horses. As honored as I was to be asked, I explained to Davina how difficult it was to find the pieces, how expensive they were, and that I did not want to incorporate intact items into my creations, and all the reasons why it would not be possible. She simply smiled and assured me that my limited thinking response was not characteristic of me and that I would find a way.
Davina, as usual, was right. Rather than focus on what was difficult,
I started thinking and imagining the possibilities. I contacted another mosaic artist who taught me to make molds of my vintage equine shapes, so that I could form flat-backed dimensional shapes in clay, glaze and fire them. Another friend showed me how to make tiles from my large collection of copyright-free antique equine paper emphemera, much of it from another century. I was teaching a workshop on mosaic technique when I mentioned that I was looking for a second-hand kiln and “Voila,” one was given to me, and delivered! Suddenly I realized with a new and fresh outlook that life, indeed, is a mosaic of all that we are and do. Do we allow ours to happen to us or do we create our own beauty from our circumstances - many of them broken and beyond our control? Chasta and I were broken inside and out and now are deeply bonded, our mutual love making us whole again.
Do we allow the mosaics in life to happen to us or do we create our own beauty from our circumstances - many of them broken and beyond our control? Each mosaic is one-of-a kind and tells a story. Some are mirrors since Horses Are Our Mirrors that reflect to us our deepest inner being and help us to embrace and heal our shadows. Some are garden- themed since
Opposite Left: "All the Pretty Little Horses" Vintage Mirror
Horses Help Us Grow. Some call on indigenous wisdom of all cultures since
Top Right: "Cowgirls Take the Cake" Cake Cover
Horses Are Good Medicine. Some inspire us to find our best cowgirl and
Bottom Right: Connie Funk creating masterpiece mosaics
cowboy or dressage dancer, muse or whatever it is that our hearts desire in our healthy relationship with horses that reflects the true partnership that Horses In Art Magazine is helping to define and expand.
available sometime this year. My true message is far more than sharing
I am and always have been madly in love with horses, so inspiration
sources for materials or how-tos, but to learn to live in the creative flow of
is everywhere. Pressing antique lockets and the seams of old worn jeans
energy that nourishes and sustains us all. Whether or not you ever create
into clay makes unique shapes and textures. A Depression Era candy dish
a mosaic of any kind, inspiring you to learn to be the artist of your own
that belonged to Evan’s Great-Grandmother makes a detailed border.
life is my mission statement and purpose.
Hand painting new pieces made from molds of old things and glazing
This is another important way for me to express to the world the
them with colors that compliment shards from vintage broken plates
beauty and magnificence of horses. If people stop to take a look at the
creates an absolutely unlimited palette. My mind’s eye sees each mosaic
details from one of my intricate mirrors with images of horses, I hope it
completed before I start, so it is a deeply meditative process for me. I am
takes them back to the moment when they touched their first pony and
simply filling in a complex puzzle in present moment time. Each piece is a
inhaled the sweet aroma of horsehair and grass hay. To remind them that
prayer sent out to all life. Clay is a very evocative medium - we are clay - of
Pony Longing is life’s longing for the divine, and our connection to all life.
the earth. Every culture has decorated clay in their most sacred rituals -
from wedding feasts to celebrations of life at memorials.
happy childhood and create Beauty From Brokenness.
Since I am regularly asked if I have a DVD or CD to accompany my
class or for those who live out of my area, I am in the process of creating an interactive CD with a wealth of information and inspiration about my techniques that will be linked to many other resources. I hope to have it www.HorsesInArt.com
Life is a mosaic. Live yours! Love yours! It is never too late to have a
For more information, contact Connie at: constancefunk@gmail.com and visit www.woodylanefarm.com or visit: www.earthwindandhorses.com
Spring / Summer 2013 Horses in Art 19
Devine Equine Photographer Gene Devine
20 Horses in Art Spring / Summer 2013
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"For me, the absence of fields and fences, mountains and sky, allow the viewer to be completely immersed in the beautiful paradox of beauty and power." - Gene Devine
I would love to say my black and white equine photography
it was transformational. I told her I was going to pursue this as
is a pure and original expression, but that’s not the case.
a style, and soon after I began a special project that would allow
I stumbled across this style several years ago while working on
me to explore shooting horses at night. I have never looked back.
my photography degree. An associate from a sister school was at
her barn one night with her camera when someone was putting
of medium, the most common thing you hear is the desire to
their horse away. It was dark out, save the one light mounted well
capture the spirit, energy or essence of the horse. I love this style
above the entrance to the barn, and she took the shot as they
because I feel it provides a window into the spirit unencumbered
were walking inside. She liked the shot well enough, but for me
and undistracted by flora, fauna, and everyday surroundings. It is
www.HorsesInArt.com
When you talk to artists who work with horses, regardless
Spring / Summer 2013 Horses in Art 21
the juxtaposition of raw power and delicate beauty that, for me,
appreciate these animals without ever setting foot on a ranch.
communicates the profound link between mankind and nature.
As the equine community well knows, horses have played
up with a love, appreciation, and relationship with horses,
a central role in the advancement of humankind for thousands
although very few had seen them presented this way. This style is
of years, and only since the industrial revolution have we seen
often compared to lighting a human fine art nude or figure study.
a split where generations have now grown up with little to no
For me, the absence of fields and fences, mountains and sky, allow
contact with horses. As Buck Brannaman so ominously states in
the viewer to be completely immersed in the beautiful paradox of
his workshops, there may be a day in the future when the only
beauty and power.
place we see horses will be the city zoo. Consequently I am on a
mission of sorts, to reintroduce horses to “mainstream America.”
form of intimate equine photography. With each new commission,
My goal with this body of work and the book I plan to
I meet horses and people that often become and remain friends
publish at the end of this year is to reach the people who don’t
and enrich my life immensely. When you feel a calling it colors
identify themselves as “horse people.” I would like urbanites and
the way you view and approach everything in life. As I continue
city-dwellers to feel this bond of trust, this spiritual connection.
to explore this interpretation of the horse, I hope I can bring that
The long-term fate of the horse population is in everyone’s hands,
sense of intimacy and kinship to cities and suburbs that don’t
and I want this group of people to know that you can love and
have these blessings in their everyday life.
I have been blessed because most of my clients have grown
It is difficult to articulate the rewards that come from this
Learn more about Photographer Gene Devine at www.devine-images.com 22 Horses in Art Spring / Summer 2013
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"When you feel a calling it colors the way you view and approach everything in life." - Gene Devine
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Spring / Summer 2013 Horses in Art 23
Misha's Spirit Horses are clay sculptures fired in the kiln with layers of acrylic paints and unique patinas. Each has such a unique personality, so each decorated horse has a fringed leather saddle, feathers, fur remnants and genuine turquoise nuggets. Dyed deer hair is added for the mane and tail. Turquoise is sacred to Native Americans and is considered a "protective" or grounding stone. Misha uses vintage glass beads, tin cones and hand-made fetishes as embellishments. A tiny medicine bag filled with healing and protective herbs and shards of pottery hangs from the saddle. Each "Spirit Horse" is given a Native American name, signed and dated and is accompanied by a certificate of authenticity.
24 Horses in Art Spring / Summer 2013
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C
The Spirit of
Enchantment by Artist & Sculptor
Misha Malpica
I have been sculpting in various mediums for over forty years and
have come to the conclusion that an artist never stops evolving. I began my art career as a stay-at-home mom, making Christmas ornaments to make ends meet while raising my children in rural New Hampshire. The ornament business grew and soon I was taking orders at the New York International Gift Show for my unique decorative sculptures. My work
"The Journey" Pony is adorned with
has been collected by Demi Moore, Anne Rice and other celebrities. Featured in galleries, museums and art shows, I even designed ornaments for the White House Christmas tree.
Fast forward twenty-five years, the nest was empty and it was
time to really explore my art. Enamored by New Mexico, the people,
Turquoise Rocks,
the cultures, the vast landscapes, I packed up all my worldly goods and
Pheasant Feathers and a
my niche here in the Southwest. Haunting faces of Native Americans,
Little Black Bird.
work was inspired by the legends and history of the West. And now
A story of a symbiotic
contemporary horse and pony with my special flair for capturing
relationship. - Misha
made the move. Creating one-of-a-kind mixed media sculptures, I found dressed in soft leathers and beads, standing beside their horses, my I am evolving. At the request of a long standing collector, I created a emotions and using beads and feathers. She was delighted! Enthused by her response, I started making more. So began the discovery of these beautiful creatures. Pouring over books and magazines, photos and making many trips to a friend’s ranch became daily rituals to become acquainted with their anatomy, familiar with their moods and temperament. Soon I was captivated with their “spirit.”
My horses are individually sculpted in clay and fired in a kiln.
Sculpting for hours, I try to give each horse its own personality. Dark, soulful eyes capture their expressive spirit. Layers of colors are applied to give a soft, worn surface to their coats. Horse hair, vintage beads, feathers and leather fringe adorn my creations. I love the beauty of
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Spring / Summer 2013 Horses in Art 25
Spirit Pony Ornament: Dressed in beautiful feathers, turquoise
This Spirit of Enchantment Pony is adorned in feathers and Turquoise
beads and metal charms, this pony is ready to hang on your tree.
Native American war paint to complete his captivating presence.
Each pony is hand painted and decorated. an iridescent pheasant feather, the sparkle of an old bead,
Adorned with strands of trade beads, glass and sometimes found
the design of a button. Threads, fibers, ribbons and fringe,
stones, the two friends affectionately travel together on life’s
I carefully add each element to make the horse sculpture
journey. It is a symbol of how two species can get along no matter
unique. My color palette consists of warm, rich earth tones
how different they are and how they need each other. It is the
with a splash of turquoise or red. The studio is brimming with
story of their symbiotic relationship.
paints and stains and feathers and furs and beads and found
objects. I am surrounded by my inspiration. My work tells a
turquoise and stands 30” high x 28” long x10”deep.
story. I love to eavesdrop on people while they are looking
at my art and listen to the story that they weave about the
American names and come with the history of the horse in the
sculpture.
West and the significance of the markings and designs (i.e.: spiral
circle around the eye aids in vision).
My latest body of work is titled “The Journey.” Accompanied
"The Journey" Pony is washed in browns and with faint hints of My one-of-a-kind ponies and horses are given Native
by a small black bird,
One-of-a-kind horse ornaments dressed in beautiful feathers,
he is carrying a mound
genuine beads and exquisite charms have been shipping around
of
the world to horse enthusiasts everywhere as well.
turquoise
stones.
Sculptor Misha Malpica carefully shapes the clay to give each Spirit of Enchantment Pony its own personality. 26 Horses in Art Spring / Summer 2013
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"I am surrounded by my inspiration." - Misha
Spirit Pony: Splashed with color and decorated with delicate feathers and a large piece of turquoise, the Spirit Pony stands 12� tall to the tip of his wild mane.
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Spring / Summer 2013 Horses in Art 27
Spirit of Enchantment
Magnificently splashed with color, the Appaloosa horse is an enduring symbol of the Southwest. Brought to the Americas by the Spaniards, they proved useful for exploring the new lands. Native Americans believed these horses were magical, sending messages through their skin. Unusually marked horses were highly prized and displayed extraordinary powers.
Carrying a turquoise nugget, each Spirit Horse is marked with ancient symbols. The painted circle around the horse’s
eye aids in vision. Lightning bolts are for speed in travel, tiny dots and arrows indicate the winds of change. The spiral circle represents Life’s journey, a handprint signifies ownership and strength. Considered revered members of the tribe, they were honored as Spirit or Medicine horses.
Spirit of Enchantment Ponies by Sculptor Misha Malpica
28 Horses in Art Spring / Summer 2013
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Sculpting and decorating each “Spirit Horse� Individually, I try to capture the essence of the animal totem. The horse embodies enduring strength, power and
freedom. Turquoise is a symbol of friendship, wisdom and protection of the home. It absorbs negative energy. Connected with the magical powers of the Shaman, the horse is the first totem animal spirit. Each horse is sculpted in clay, fired and painted with layers of colors. Delicate pheasant feathers, vintage beads and leather fringe embellish his saddle. A beautiful turquoise nugget symbolizing friendship is placed on his back and a small medicine bag holds sage and small shards for protection. Horse medicine teaches us to tap into our own inner power. Invoke your horse totem to access your personal inner spirit and strength.
Misha's work is available at website www.Mishasart.com | www.etsy.com/shop/MishasArt | Misha@zianet.com Misha Malpica | 1703 Sudderth Dr. #121, Ruidoso, NM 88345 | 575-973-1490 www.HorsesInArt.com
Spring / Summer 2013 Horses in Art 29
MY
JOURNEY
by Ritch Gaiti "Crossing Over"
From the canyons of Wall Street to painting horses on the open range I was them, part of the machine. I had my successes, paid
and a few bucks in my jeans (ok, my 401k). I had always felt that
my dues and successfully navigated the turbulent waters of
the only real failure was not trying and there were many things
the corporation. I worked in big and small companies as a
that I had not yet tried — among them, writing, filmmaking and
high level manager, a peon, and most things in between. I did
painting. While directing a technology division of Merrill Lynch,
projects, meetings, assignments, marketing, reviews, reorgs,
I had many diversions including painting, flying, tennis, skiing and
brainstorming, all nighters, task forces, politics, et al. I was a
movies. So I shifted — from my analytical left brain to my creative
comer, a take-no-prisoners young gun, and a rising star; I was
right brain; from the buttoned-up structure of big company
successful, recognized, promoted and anointed. I was the next in
bureaucracy to the free flowing world of art; from the canyons of
line to be next in line. Then I resigned.
Wall Street to the open range. Both had rules and structure but
the latter had my rules and structure.
I had a list of accomplishments that I had been proud of
30 Horses in Art Spring / Summer 2013
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Paintings of another time, another place
Adding texture, which I do often, contributes to the depth of the
painting, delivering that third, sculpture-like, dimension. I find that texture, also known as impasto, conveys a sense of aging and time, somewhat reminiscent of petroglyphs on ancient cave walls. Most of my paintings have some element of time — a before and an after,
I had always been in love with western America, an anomaly
a time of day, or a passage through evolutionary cycles. Occasionally
for a kid from Brooklyn. Somehow, I had been enamored with
I enjoy combining the elements of nature in unorthodox ways to
the expanse of the west, the Native American culture and,
yield a very natural result. "The Hard Breeze" is a prime example of
of course, horses.
Horses embody beauty, grace, strength,
this as the story morphs from the static stone wall into the free
but, most of all, freedom. They are a raw but gentle energy. I
flowing arc of a horse in full motion. As I painted it, I thought as
paint them in their natural environs, a pasture, an open range,
much about time and evolution as I did about texture and color.
climbing a hill or crossing water — whether playfully romping,
Texture is also a great courier of motion as the tone falls within the
trailing within the herd or simply idling. There are no fences to
fissures of the raised paint, adding to the rhythm of the movement
constrain them, just the natural obstacles of nature. When I paint
as illustrated in "Crossing Over" (Artwork opposite left).
Native Americans, I paint the entire culture, their history and
their stolen future. I paint their spirit in search of a lost destiny.
details, the more the paintings say.
I try to give the viewer something to interpret. The fewer the
I call my work “paintings of another time, another place”
because that is where I want to place the viewer.
Basically self-taught, initially I tried to be representational
— that is, take photos of horses, and, essentially, emulate them with paint. The more I studied my subject, I realized that I was painting the outside of my subjects. I needed to dig deeper, beneath the surface — to release the emotion, the drive, most of all, the spirit. A painting should tell a story — capturing that moment in time enveloped between what was and what will be. I began to look at my subjects differently. I asked: what are they thinking/feeling? Where are they coming from? Where are they going? What just happened and what is about to happen?
Somewhere deep inside the image of the horse lies the
essence of the horse- that is what I’m after.
Time, Drama and Texture
I tend towards the warmer palette — the earth tones,
yellows, reds, ochres, browns and oranges. Yet I feel just as comfortable working in the cooler blues, greens and purples or wherever the painting leads me. I love to add a sense of drama to the scene via directed light and deep shadows at day’s end. "Night Moves" is one of my favorite examples of drama inside
"Night Moves" is one of Gaiti's favorite examples of drama inside the herd at the end of day.
the herd at the end of day. www.HorsesInArt.com
Spring / Summer 2013 Horses in Art 31
The process: Evolution of the painting
When I started painting, I knew exactly what the
desired result would be. Much like my earlier career, I had a goal and a plan. It was just up to me to execute — very left-brained of me. However, I realized that the satisfaction came from the adventure, the journey of the painting. Now, I know my starting point, I know what story needs to be told, the rest evolves. Usually I would have an informal plan for each painting, but contrary to my prior career, the plan often changes the moment I lift the brush and a hundred times thereafter. I never know where my paintings will wind up, often taking a circuitous route through many layers of brushstrokes — hence the adventure. My paintings evolve — I have a direction but the plan succumbs to my creativity of the moment.
Layers are the key to a successful piece, with images
upon images and color upon color. I change what isn’t working and embrace what is. Starting with a sketch, I migrate quickly to a roughed out painting and focus on rendering the tones, the lights and darks, which serve as the basis for the final work. Then I begin to add features. Initially, I use brushes but may move to a palette knife (or rollers, etc.) to add the thickened paint for texture. Then I work it, sometimes for weeks, sometimes for months. "The Rising"
Each painting has its own path and challenges.
ABOUT Ritch Gaiti
“One of this country’s foremost equine painters”
A nationally recognized western and horse artist, he has exhibited in galleries, corporate venues and museums, including The International Museum of the Horse, The American Quarterhorse Association Museum, The Gilcrease Museum and The Great Plains Art Museum among others. He has been well received by collectors and reviewers: “No other contemporary artist captures the human/equine bond more sympathetically than Gaiti.” Gallery and Studio Magazine Contact info: Ritch Gaiti
Jan Purcell The Times of Trenton
www.Gaiti.com Ritch.Gaiti@verizon.net
Ritch Gaiti describing his technique at One Artist Road Fine Arts, Santa Fe, NM
609 466-5888 32 Horses in Art Spring / Summer 2013
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"Prancer", a unique blend of form and texture [notice the horses emerging in the background].
As I paint, the outside world does not exist. With music in
the background, my mind frees and I deal with the challenge of the work — does it say what I intended? What is the story? Does it change with the painting? What is the light source? Is the composition working? The colors? What’s missing? What’s working? What just happened? What is about to happen? And I’m deep inside the journey, ever curious about the path and the end result.
And when all of the elements are in place — the colors, tone,
time and depth nested just right — the spirit is captured and another story unfolds.
Wall Street and the stress of bureaucracy and politics are far
behind me now. I enjoyed my career when I was in it. Right now, I am enjoying phase II — my journey through my right brain. I like the variety of the creative process and I don’t restrict myself to disciplines. In fact, I love learning and trying something new and breaking some rules. Some time ago, I embarked on a project to sculpt a mare and foal, nuzzling together for my lawn. It took two years to complete — it will be quite a while before I do another. Oh yes, I was in the feature film business for a while and made a few short films but found it paradoxical that you needed money to be creative — that was backwards. Also, I have written three books, one was optioned for a feature film. The books range from fiction and non-fiction, humor and drama. Interestingly, only
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one (Dutching the Book) was about horses — horse racing and gambling in 1960’s Brooklyn. I have three other books in various states of completion. I live in the quaint community of Hopewell, New Jersey with my wife, Virginia; two labs, Brandi and Raven; and Ziggy, my cockatoo.
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For current inventory and pricing email Corinnejb@aol.com or visit
corinnejoybrown.com Spring / Summer 2013 Horses in Art 33
The Art of
Cavalia Elise Verdoncq
34 Horses in Art Spring / Summer 2013
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An interview with Elise Verdoncq of Cavalia’s Odysséo Article and photographs by Lori Faith Merritt Soft blue patterned curtains part to reveal one singer close to a “sleeping” horse and human, spot lit on stage left. He sings them awake then winds his way down a sloping hill as the lights rise to illuminate forms of more equine/human pairs lying in soft sand. There is a palpable quiet in the audience and we gaze in wonder as the horses begin to rise and the humans stand, stretch and yawn. Grace and rhythm join in an evocative dance of hoof and heart, some horses rolling and some rising to work at liberty across the vast stage. Their freedom is apparent yet they show a deep connection to their partners. One stallion snorts and gallops around the perimeter and greets an equine friend, shares breath and tosses his head, and trots back over to join his man. Another continues to enjoy his roll and the audience laughs in shared joy as he rises, shakes off the sand, walks to his woman and touches his muzzle to her shoulder. We notice something is happening, a subtle wave as more horses join the dance. One horse at a time is brought to each artist until they each have three or four horses and they are all still moving and weaving around and through each other in a living tapestry of exquisite liberty. At the pinnacle there are up to 32 horses forming a pinwheel that swirls in grey and brown and black and bay... the horses in the center walking slow and the rest spinning out in transitional gaits from jog to canter to gallop at the outer rim. When they stop, there is a collective sigh from the delighted audience and we burst into applause. (Odyseeo’s post intermission grand liberty act “Oasis”) Cavalia’s Odysseo creates a world of intrigue, mystery, and elegance from a palette of 56 stallions and geldings of nine different breeds including Arabian, Warmblood , and Spanish Purebred that travel through a 15,000 square foot stage with a backdrop the size of three Imax screens, choreographed in connected dance with an international cast of 50 artists. It truly takes a village to present this masterpiece as costumers, designers, choreographers, musicians, singers, riders, acrobats, aerialists, dancers, lighting and set-up technicians, horse trainers, grooms, a blacksmith and veterinary technician work together in exquisite harmony. The creative team includes Normand Latourelle as artistic director, Wayne Fowkes as director, and Benjamin Aillaud as Equestrian Director and Choreographer along with others who work on visual conception, costume design, and choreography for the artists. Whether the fortunate view is an equestrian, horse lover, or simply a fan of Cirque du Soliel type shows, they will adore Odysseo and the dream-like world they are invited into. As a lifetime lover of all things horse, having spent much of my life horseback, I treasured the fantasy and admired the horsemanship of Odysseo. I feel honored to present this interview to you with one of the bright stars of Odysseo, Elise Verdoncq, who immediately touched my heart in Le Sedentaire with her liberty Arabians, continued to draw my eyes to her throughout the show in acts like Grand Cavalia and Oasis (grand liberty) and then made the outside world disappear completely as I watched her as she performed dressage with the Lusitano stallion Omerio through the 80,000 gallon lake that had filled the stage in Les Voyageurs. I’ll admit, my soul rode Omerio with her. www.HorsesInArt.com
Spring / Summer 2013 Horses in Art 35
The grand liberty act, Oasis, uses up to 32 horses of 10 different breeds in a spectacular display of skill, grandeur, and connection. The horses and artists dance with each other, evoking deep emotion from the audience from the calm start to dramatic finish.
LFM: When did horses first come into your life and how did that change
LFM: That was another question, actually, because I knew you were
your life?
studying that. It’s a big difference from there to here. I used to be an EMT/
EV: I was six and I told my mom I wanted a pony and she said no. So, I
firefighter and then I managed stores and did other jobs, but mostly I
kept asking and asking and then she would bring me to places when I was
worked on ranches and trained horses and it came to a point where I just
younger where I could ride a pony and I kept riding more and more until
had to do something creative with the horses. So now I photograph them.
now. I don’t think I will stop. I remember when I was in Cavalia one, I was
Did you always want to do something more with the horses than show
doing an act called the mirror and it was like two princesses with really
them? Create something with them?
long white dresses and white horses, with a crown, and when my mom
EV: Yes, I always wanted to build something but I didn’t have the money
first came to see the show she asked “Do you remember that once you
to have my own horses. I really wanted to do something else and then
told me that when you were older you would be a princess on a white
when I was looking for a job, I heard that Cavalia was looking for riders.
horse? And there you are.”
I thought, I’ll just do a video and then maybe I will see. Maybe so, maybe
LFM: And you are!
not. At first I thought maybe I would do this and then change my mind
EV: Since I was a kid I’ve been talking about horses all the time. I was
and go back to work and be a lawyer, but no. When I start to build a
more at the farm than at home. I didn’t have money to pay for my lessons
relationship with the horses, it becomes so hard to leave and I am still
so I had to pick stalls, wash horses and do everything to be able to ride
teaching them tricks and I just don’t want to stop.
a little bit.
LFM: I can’t imagine leaving this if I started. Mmm, this or being a lawyer.
LFM: I did that too.
I know where I would be.
EV: The really passionate people who love horses know what it is to take
EV: Oh, me too! I mean, I’m traveling and riding horses and I really cannot
care of the horses. That it’s about the horses, what you can do for them,
complain.
and not just about riding them.
LFM: Earlier, when we were with the horses, you were saying you didn’t
LFM: Right! Was that the biggest part of your life then or did you do
really have a favorite because they are all so different. Do you find
dance or anything else?
yourself spending more time with a few of them or giving them all the
EV: Mostly the horses. Then I was studying in law and getting my degree
same amount of time?
right before I arrived in Cavalia, so I could be a lawyer in France.
EV: Oh, they are all so different! It all depends on what I want to do and
36 Horses in Art Spring / Summer 2013
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what I want to teach them. When we are playing, some horses want to
run away. It was a very, very great experience.
spend more time close to me and others more together and not with me.
LFM: So, you learned mostly from the horses? More than a person?
It really depends on the day and the horses. I try to work them all together
EV: Oh, yes!
at least once a day to teach them where their place is, and sometimes by
LFM: I relate to that. Whatever horses have taught me has always been
three or by six or nine and sometimes one by one especially if there is
the truth. They show me themselves whereas people, for the most part,
something new. It takes time but I love that. It’s different every day.
try to teach me what they interpret the horse to be. You learned a lot
LFM: Tell me the story of how you came to be with Cavalia. Did you just
from Benjamin too and I’d like to hear about that.
send in a video and were you doing liberty or riding dressage or ?
EV: With Ben it is really different because he is really interacting with the
EV: I was just riding horses and doing dressage and a little bit of voltige.
horses. I mean, he’s the most amazing person I’ve ever seen with a horse.
LFM: Oh, what is that?
Like he’s a magician. You saw him the last night he was here this time. He
EV: It’s on the big horses where you put a big pad and you can stand up on
was amazing. And I was like, “Have fun. This is your horse. Just do it.” He
the horses and kind of dance on the horses. And I sent in the tape and they
was like a kid.
called me to come do an audition for three days and then at the audition
LFM: It was beautiful. They (a Lusitano stallion named Omerio and
they told me “You go back and you have ten days to leave everything over
Benjamin) are so connected. Not to be silly, but like a centaur. You know,
there and come back.” And I said “Oh wow. That’s awesome!” So, I came
one shared soul.
in and started to do the carousel, and some training, and more and more
EV: I was almost crying. That is my job too, to learn. It’s the horse. He
dressage and then about two years ago the girl who was doing the liberty
knows everything. He can do it. I just need to connect with him.
act, Sylvia Zerbini, decided to leave and it was her Arabians who had done
LFM: Are you going to be riding Omerio through the lake tonight?
the act. So we found some Spanish horses who were trained already to
EV: Oh, yes. That’s what I am used to doing now. When I first started with
be together and I started to learn liberty with them. Benjamin (Aillaud)
the liberty horses, the Spanish ones, I was so stressed and I didn’t know
taught me everything and it was crazy. We woke up super early because
what I was doing. For the premiere in Quebec, I thought “Maybe I should
he came at night and we would train, then try to sleep a little bit, then
have not said yes. What if the horses don’t answer me?” That was really
start again at 3am, training and playing with the horses. It was such a
hard. When I thought I wanted to quit, Benjamin looked at me and said
good experience though because I was at the training center, and all the
“When you will NOT want to quit anymore, that is when it is going to be
artists were leaving for the first show creation in Calgary so I was alone
time to leave and move on to something else.” And after a few months,
there with just the people taking care of the horses and I was with those
everything was amazing and I didn’t want to leave any more. And then
six Spanish horses. I didn’t know anything about liberty and the horses
Ben called me and told me he needed me to take his place on the new
taught me a lot because they were trained already. It was awesome. The
show. I was like “No, no, no.” because I wanted to stay there. “I’m not done
relationship you can build with them, and you just look at them and know
with my horses and I want to keep building my relationship with them.”
you have to connect to find a way to talk together basically. With each
But he said “It’s time to leave. I told you!” And, he was right...again.
horse it is so different and some horses are right away coming to you and
LFM: But then you got to come to more horses.
some others are scared, like “Who are you and what are you asking me?
EV: Yes, yes. And it was really different because these new horses just had
Your voice is different. Your commands are different. So, what am I doing
the basics and I could teach them what I wanted them to do. So it was
here?” And then soon, they were like my babies. And then I had to train
amazing to learn from the horses who basically knew everything and they
them for the new stage because they had been trained in the round and
taught me how to be with the new liberty horses through the experience
the Cavalia stage is open and I had to teach them to stay with me and not
of what you can do and what you cannot do, because they will tell you.
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Spring / Summer 2013 Horses in Art 37
The lush costumes made of natural materials, live music that accommodates the variances of the horse's movement, and the skill of dance and horsemanship sets a stage that is grand and memorable...fantasy and reality blending into a world where horse and human connect wondrously. If you are wrong, they will tell you and then you will feel alone in the middle, like “Oh, ok. I made a mistake.” And even the young ones, they still are teaching me. If you are not a friend of the horses, you are nothing. You are just in the middle and they are together. LFM: I can hear that the horses have taught you the most. And then there is Benjamin. How has he taught you differently from everything you learned since you were just a young girl, six years old, wanting a pony? EV: Benjamin made me see the horses very differently. With him, no matter what you are doing with what horses, it looks always easy. There is no fight, just understanding. He makes things look so easy, I think “Why didn’t I think to do that?” The connection he can have, well you can give him a horse he’s never seen or touched and give him ten minutes with him and you would see. It’s something that I’ve never seen before. Never. LFM: Then you’ve learned that way? Not forcing but instead connecting? EV: Yes, because if you force the horse then you are going to break him, in his mind or in his body and that is not what you want. And especially here, we need to work with them. No horses, no show. Once you realize this, that everything can be easy, it doesn’t mean that they can do whatever they want. It just means that you need to find a way to explain to them, without any fight or resistance, what to do. They need to come to trust you and be comfortable with you and then they are willing to do what you want and it’s going to be so easy. I’ve seen a lot of liberty horses trained with the reins and like this (she demonstrates an over collected 38 Horses in Art Spring / Summer 2013
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Throughout Odysseo, the horses and artists move through the some of the world's greatest wonders. Beginning in a misty, enchanted forest and traveling under rolling clouds and blazing to setting sun, the audience will experience the desert and savanna of Africa, the American Southwest, the Northern Lights, an ice cave, verdant fields and Easter Island. horse forcibly pulled tight). It works, but the horses are not really free. It’s
horses and one horse leaves and comes back, that’s the best applause
not the same. We train the horses different things, and we ride them too,
we ever have because people realize they are free and can leave but they
but the reins are for contact not force. They are just to help place the head
choose to come back. And sometimes it’s looks easy, but if you’ve never
forward and relax the back but that’s all and it’s only when you need to
done it try it sometime. Try to run with four horses following you, and
help them to be comfortable in their body. With liberty, there is no rein
you will see if it’s easy. There are stallions and geldings all mixed up and
and they are basically free all the time. Like this, you can see if you have a
some want to see their friend, and one wants to bite you, and one tells
good relationship with your horse or not. Sometimes when I am teaching
another horse “I don’t like you.” It’s not always so easy.
something new, I can put them on the longe but it is not to pull them, only
LFM: But you make it look like it is. I’m going to ask you about artistry. Do
to give them a little direction.
you thing that most artists have their own style of expression?
LFM: I understand. I’ve been working with horses for over 40 years and
EV: Of course!
I’ve seen a lot of horses who have “had the horse trained out of the horse.”
LFM: Could you describe your style of artistic expression and how have
They become just an animal that does what the person wants and they
the horses influenced that style in you?
don’t really think for themselves anymore. That is not what I see here.
EV: I try most to be there, but not be the star. To not say “Look at me. I’m
I see horses who are active thinkers who might not be a “perfect” show
the star of the act and I’m doing it.” Because I’m not doing it. The horses
horse, but they still have their spirit and unique personalities and you
are doing it. So basically I’m just there to present the horses and not to
seem to encourage that. True?
present myself.
EV: Oh yes. Especially when you are doing liberty or doing a show every
LFM: It sounds like you really are an artist then. It’s not about you, it’s
night, if you don’t want the horses to be bored they need change. They
about the art. The art of the horses.
need to be free to express themselves and to be a horse. To maybe say
EV: Yes, it’s about the horses and I’m just there to play with them and
“OK, tonight I don’t want to do this” and to respect that and do something
have fun. That’s my job. Have fun!
close. But we are not going to correct them for being a horse because they,
LFM: Are the horses choreographed to match a musical piece or is the
like us, have the spirit to choose and we want them to enjoy it. We need
music created to match what the horses are doing?
to lead with that and to play with that.
EV: They create the music thinking about what they want on stage with
LFM: During the liberty act after intermission at the last show, there was
the horses. Then we all kind of mix together and see what we can do
a horse who rolled the whole time and got the most applause.
with the choreography. Sometimes a part of the music and the horses
EV: Of course!
movement together is amazing and we will work that in. But it’s horses
LFM: If you think about much of the equestrian world, that would have
so it has to change all the time so they are a live band and as the rhythms
been corrected.
change, sometimes the musicians are improvising. The music has little
EV: Yes. And you know, when in this act when we are running with the
modifications often as they see what happens with the horses. With the
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Spring / Summer 2013 Horses in Art 39
During Les Voyageurs, Elise's liberty Arabians are loosed to run through the lake and around the stage in an exhibit of freedom and beauty. liberty it’s pretty hard but I can try to listen to the music and connect with it and move with the horses that way. LFM: Do the horses respond to the music? EV: Of course. For example, in the carousel act you can see that the horses listen to the music and on the change of the music they start to canter. We don’t even have to ask them. It takes a little while but when they are listening to the music every day, they come to know and move with it like a cue. LFM: With the liberty horses, do you dream up the acts or do you see what the horses can do and put that into the performances? EV: Most of the time I am looking at the horses and what they are showing me and sometimes I get ideas from them and put it into the act. The process to teach them is very long, and I have tons of ideas, but I
When Elise performs dressage with her Lusitano stallion Omerio in Les Voyageurs, there is free-form "play" encouraged within the choreography to allow for the best dance from both horse and human.
can’t mix them too much if I want to do it properly because I have to train them one step at a time. I get excited and I play with them but still I have to come back to the basics so they will know what to do. Sometimes I do just let them play and be friends and sometimes it has to be very serious. LFM: So you are the choreographer and you teach them the dance, yes? Have any of the horses taught you something you wouldn’t have thought up on your own? EV: Yes, it’s more that I choreograph them but yes they show me too. There was this time I was in the middle and I saw something on my shoe, so I leaned over to look and the horses came in close to me and I thought “Oh, why not do that?” It was so easy. LFM: Do you have a dream or special vision going forward? EV: I would say if I keep doing more and more with the dressage that I would want to do it with the Spanish horses (Pura Raza Española:PRE), because they are made for doing this and so beautiful. For the liberty, working with the Arabians and the Spanish horses has been so different and I learned so much from both. Maybe a mix? I don’t really know. Right 40 Horses in Art Spring / Summer 2013
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they offer and go with that. LFM: Perfect. Thank you! The tagline for Photography By Faith is The Art of Connection. I say that I don’t capture a picture and instead I receive the gift of it, like the gifts the horses will give you. That if I am technically proficient and present and connected that they will give more than ever could be demanded of them. Do you agree with that? EV: Of course. It’s the same for you with the photography as me being in the middle and working with them. LFM: Thank you Elise. And thank you for your time and for introducing me to your fabulous horses. EV: Thank you very much. You’re welcome. I had fun.
now I am so good with the horses I have and I’m not done with what I want to do with them. LFM: That’s understandable. Do you have advice for an aspiring equine
Elise Verdoncq rehearses at liberty with one of her Arabians for Revere L'Odyssee.
artist? EV: Just always respect your horses and what they want to give you. That’s the most important thing. LFM: Just one more question. There are many people coming to the show. Some are horse people and some are not. What would you want people to know most about horses? EV: What I would most like them to know, the message I will give them is that horses are not toys. Never forget that they are human and can think and they need to be themselves. That you cannot always demand they do what you want. That they can be with you but they are still themselves. LFM: So, respect that they have a soul? EV: Yes, that is the word. Do not always be correcting them but take what
Lori Faith Merritt specializes in equine and cultural images that transcend the ordinary through the Art of Connection. Her focus on western culture includes Western music and poetry artists, horsemen and horsewomen, cowboys and ranchers. Passion is evident in the images that portray how she feels about what she is experiencing rather than simply presenting what the camera sees, resulting in evocative and insightful imagery. Her life has centered around horses since 1971 and her experiences allow her to communicate with horses and horse people alike, providing an environment of integration vs. isolation. Lori Faith’s images have been published internationally (clients include Western Horseman, Horses in Art, Bit Magazine in Europe, National Geographic, The Western Way, IM Cowgirl, and many more), are utilized in equine and Western music artist and cowboy poet promotions, and are enjoyed by private collectors throughout the world. She provides art reference images to painters and other artists internationally and has served as official photographer for special events, including horse shows, the Western Music Association’s Festival and Awards, National Day of the Cowboy, Festival of the West, and others. In 2009, she was accepted as the guest photographer for the Gathering of Nations. Volunteering for several organizations that provide horse and animal rescue and equine therapeutic assistance allows her to serve by giving back and in 2010 inspired her to become a founding artist of HeARTists for Horses (a group of like minded equine artists dedicated to using their art to benefit horses). In Spring of 2012 she was invited to be a participating artist in Cowgirls with a Camera at the Desert Caballeros Western Museum. Based in Tucson, AZ, Lori Faith travels extensively to provide photography for ranches and barns, portraits and promotions, and to create images for her portfolio. She mentors privately and teaches photography workshops including Focusing on the Story and Focusing on the Spirit. For information and to view Lori Faith’s work, visit http://photographybyfaith.com From her Artist Statement: Horses are Truth, Wisdom, Grace, and Strength. Countless moments of exquisite beauty are gifted to the people who are fortunate enough to spend their life with horses. Courage and tenderness, passion and humor, compassion and playfulness...from wobbly foals to magnificent stallions...the world of Equus brings to our lives images that delight our eyes and take residence in our souls. The horses themselves have taught me how to photograph them. Connection is vital. Allowing time for the essence of an individual, the dynamic of a herd, or the unique bond of a horse and it’s human companion is essential for images that transcend the ordinary. Faith is essential to the way I receive images. In the world of photography, the word “capture” is often used to describe the moment when an image is created. I prefer the word “receive”. That magical moment when an image comes to life, infused with luminous spirit, is a gift best graced by freedom. Anyone who truly knows horses understands that the best way to catch one is to let them come to you, to gift you with their presence. I apply the same philosophy to my photography and the generous nature of the equine soul continues to amaze me with gifts of evocative, mystical, and inspiring images that live and breathe. www.HorsesInArt.com
Spring / Summer 2013 Horses in Art 41
A Talk with Linda Kohanov, author of
the Power of the Herd:
A Nonpredatory Approach to Social Intelligence, Leadership, and Innovation Your new book looks at history, animal behavior, science, religion, and our current political and cultural challenges from the perspective of what you call “nonpredatory power.” How did you discover this long-hidden form of power? It all started in 1999 when I met a stunning black Arabian stallion who had been damaged by conventional dominance-submission horse training methods. Most horses can be “broken” by these techniques. In other words, they submit unquestionably to human authority in a machine-like way as a result. Midnight Merlin rebelled. He became unpredictable, enraged, and increasingly violent. He was so hyper-vigilant and hyper-sensitive that if you touched him, he’d jerk away like you’d shocked him with a cattle prod. You couldn’t even put a halter on him and lead him around without a serious fight. Several experienced trainers had tried to “tame” him without success. One of these trainers abandoned Merlin at a Tucson boarding facility after he attacked or bucked off several riders. He was so dangerous that he had to be isolated from other horses as well.
At that time, I was boarding my horses at the same facility. I had a confident
and intelligent, very trustworthy black Arabian mare named Rasa. After our training sessions, I would let her wander the property to eat grass. Invariably, she would run over to Merlin’s corral when she was in heat. Everyone else thought he was crazy, but I could see a strange combination of softness, sadness and longing in his eyes as he related to Rasa over the fence. Merlin wanted to connect, and yet like a soldier with post-traumatic stress disorder, his sudden outbursts of frustration, rage, overstimulation, and fear aggression kept him isolated. I took him on, convinced that I could use gentler techniques to rehabilitate him.
What did you learn from Merlin?
I learned about power, courage, and self-control. I developed the ability
to calm and focus someone who was violently attacking me. And ultimately, I developed a compassionate form of heroism that became useful in working with people who were panicking or lashing out.
Working with Merlin turned out to be the bravest, scariest, seemingly most
foolish thing I have ever done. While he would try very hard to control himself, the tiniest things would set him off. He would be friendly and interested in what we were doing one moment. The next moment, I was suddenly “the enemy.” Merlin would rip the lead rope out my hands, buck, whirl around, and lunge at me, rearing up, striking out with his teeth bared, literally threatening my life.
I remember standing there on numerous occasions saying “I don’t want to
be this strong person,” over and over to myself, fighting the urge to run screaming
42 Horses in Art Spring / Summer 2013
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out of the arena as he attacked me, once again, for no apparent
personal qualities this archetype was pointing to.
reason. All I could do was hold my ground and pray that I was
fierce enough to win his trust. This turned out to be the essential
leadership skills to students, some of whom progressed to the
paradox of rehabilitating Merlin. I realized, rather grudgingly at
point where they were skilled enough to work with Merlin
the time, that gentleness, sympathy and understanding couldn’t
directly. By then, he was much calmer and more trustworthy. He
begin to transform the savage, wounded force that would rise up
was living with Rasa and another mare; he had sired several sons,
inside him without warning. To contain this violence, I would need
and even met his own granddaughter. Even so, any human who
to tap a different form of power, one I wasn’t even sure existed at
proposed to work with him had to display significant leadership
the time.
presence, as well as a combination of confidence, sensitivity,
At the time, I was also teaching these mostly nonverbal
acute mindfulness, and a balanced, connected, nonviolent form
Aren’t you talking about what some people call “horse sense”? To a certain extent, though with Merlin I had to develop
of power that could nonetheless stand up to — and transform —
other, more advanced skills. As far as I can tell, this term goes
writing and research to translate into words. Through a multi-
back to the 19th century. Horse sense is commonly defined as
disciplinary approach, I analyzed the lives of several historical
practical wisdom combined with “gumption” and intuition. But it
innovators who had tapped this highly effective, counterintuitive,
also describes a kind of nonverbal interpersonal genius. Scientists,
nonpredatory form of power to make significant breakthroughs. As
for instance, have shown that during human interpersonal
I read numerous biographies of George Washington, for instance, I
interactions, only about 10 percent of communication is verbal.
could actually see the evolution of nonpredatory power transform
Someone with horse sense notices and processes information
him from being an aggressive, sometimes explosive young man to
coming from that elusive “other 90 percent,” while being able
a person who was able to win the Revolutionary War. I could
to calm, focus, and motivate others effectively, also through
see very clearly that he employed a particularly heroic form of
nonverbal means.
nonpredatory power to stand up to much larger, extremely well
People these days are more likely to talk about “leadership
organized, well trained, well funded— yet excessively predatory
presence,” which is also primarily a nonverbal phenomenon. With
— British forces. I also noticed that several innovative religious
Merlin, I had to develop an extremely high level of leadership
leaders, including Lao-tzu, the Buddha, and Jesus, were actively
presence and horse sense.
promoting a nonpredatory approach to power.
Is this how you came to research historical leaders who were also great riders? Yes. I actually began this book as a simple overview of what horses teach people about leadership, and I kept coming
violence. These primarily nonverbal skills took me four years of diligent
Focusing on nonpredatory power turned my perspective
on human history, human potential, and even evolution itself completely upside down. It also made me very hopeful, very optimistic about our future.
also considered accomplished horsemen and women. This
What is nonpredatory power and why should we develop it?
includes Alexander the Great, Katherine the Great, Elizabeth I,
The easiest way to define it is to contrast it with predatory
the Buddha, Andrew Jackson, Winston Churchill, Ronald Reagan,
power. Both forms of power exist in nature and in purely human
England’s current Queen Elizabeth, and most importantly in my
contexts, though civilization has over-identified with carnivorous
mind, George Washington, who was not only revered as a great
behavior to justify conquest and predatory business practices.
rider, but also recognized internationally as one the finest horse
On page 370 of The Power of the Herd, I offer a chart that shows
trainers in the colonies.
how these opposite yet interconnected power principles play out
Especially intriguing to me was the fact that both Alexander
in nature. It’s actually helpful to consult this chart when hiring
the Great and Prince Siddhartha (who became the Buddha) were
a new staff member, employing the services of an expert — or
renowned for rehabilitating violent stallions that no one else
electing a political leader — to notice how often the various
could touch. It suddenly struck me that gaining the trust of an
candidates employ predatory modes of thinking and behaving.
angry stallion was an ancient power story, one that predicted
Whenever possible, you want to choose someone who exhibits
greatness. And I began, in part through analyzing my own rite of
power and expertise combined with nonpredatory tendencies, a
passage working with Merlin, to pinpoint what skills and intrinsic
simple way to lessen the common, though ironic possibility that
across these stories of influential historical leaders who were
44 Horses in Art Spring / Summer 2013
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It’s also immensely important for sensitive, empathetic
people to develop nonpredatory power to deal effectively with bullies, whether we’re talking about kids acting out on the playground, individuals like Merlin who became violent as a result of violence perpetrated on them, or large corporations that are set up to thrive at others’ expense, literally feeding off members of their own species.
In this respect, it gives people confidence to realize that,
in nature, nonpredatory species and individuals far outnumber predators, and that mutual aid is a major factor of evolution.
Diane Williams
It’s amazing to me, for instance, that we keep emphasizing a carnivorous “competition for limited resources” view of nature when hibernation, migration, and squirrels storing nuts for the winter are examples of competition avoidance.
But why do you call it nonpredatory power? Isn’t there a better, perhaps more specific word for this?
We tend to think of “predator” and “prey” as defining
opposites in the “struggle for survival.” But throughout my book, I cite scientific studies, animal behavior, and even a longignored view of evolution active in the early twentieth century,
Simona Tarakeviciute
to show that large herbivores are not victims. They draw upon the socially-intelligent power of an entire herd to successfully shield the weak and vulnerable, showing incredible heroism and altruistic behavior at times. In terms of power, it’s simply not accurate to call these animals “prey,” which implies that they are
Kim McElroy
quivering, gutless victims.
But we don’t actually have a word for this kind of power.
The concept is similar to “nonviolence.” We use this word to distinguish courageous, in some cases revolutionary action from “violence,” because the conventional opposite, “peace,” doesn’t really fit those who must enter conflicts with a different approach.
Jan Taylor
In terms of power, however, the nonpredatory perspective is not necessarily nonviolent, as horses, cattle, zebras, and wildebeests are fully capable of defending themselves if necessary. Wolves and lions attack mature horses at their peril, usually leaving those altercations wounded and hungry. Sometimes they are killed if
Diane Soloman
they don’t give up quickly, which is why smart carnivores go after the young, the sick, and the weak. However, this mature form of nonpredatory power is purely defensive and used as a last resort. When the aggressor backs off, the herd doesn’t seek revenge. Horses don’t lie in wait, chase a lion down and kill him. After a serious altercation, the herd goes back to grazing. They show a remarkable talent for managing risk and negotiating change — without enduring the chronic anxiety some humans endure.
Large herbivores use speed, size, agility, and power to protect
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Susan Williams
Liz Mitten Ryan
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you will actually pay to become someone’s prey.
themselves and their young, drawing additional security from
instead. As a result, I came up with the Twelve Power of the
the group. But they also conserve energy for true emergencies
Herd Guiding Principles featured in part 3 of the book. These
through their ability to read the intentions and emotional states
additional chapters give us the emotional and social intelligence
of predators at a distance. Nature documentaries sometimes
skills we need to create mutually supportive, empowered
overemphasize successful kills, no doubt for sensational purposes
communities capable of drawing on everyone’s talents.
and perhaps because of humanity’s over-identification with
The benefits are significant: Since the U.S. won the
predatory metaphors for power. But it’s important to realize
Revolutionary War, people have been grappling with the same,
that thousands of hours of film depicting a relatively peaceful
seemingly insurmountable challenge. Our ancestors were slaves
coexistence between predator and prey are left on the cutting-
and masters, serfs and kings. They had no idea how to collaborate
room floor. In Africa, it’s common to see lions lounging less than
with other free, empowered people, and so, despite their best
a hundred feet from grazing herds that can clearly assess from
intentions, they would often unconsciously fall back into the old
moment to moment whether these giant cats are dangerous.
power tools their ancestors used. In the 21st century, we need to
Video clips also show single adult horses, zebras, and wildebeests
break through this pattern. And we need to develop innovative
attacking and driving off predators who’ve managed to pull
solutions to the other challenges we face.
down another herd member. And after that close encounter with
death? Both rescuer and rescued shake off the encounter quickly
that if my students, colleagues and I increasingly avoid the Four
and get back to grazing, back to life.
Stone Age Power Tools, while practicing the Twelve Guiding
My stallion Merlin would easily chase coyotes and aggressive
Principles, we experience significant positive changes in our
dogs out of his pasture, but I also have photos of him letting a
professional and personal relationships. Most importantly, we
squirrel eat grain out of his bucket. I’ve seen bears and mountain
find the courage and the support to follow our dreams, while
lions walk past areas where my herd was caring for new foals.
inventing new ways to help everyone thrive.
In teaching the principles collected in this book, I’ve found
The horses were alert, but they didn’t panic. The next moment
Linda Kohanov founded Eponaquest Equestrian Services to
ravens were wandering confidently on the ground near the babies
explore the healing potential of working with horses and
looking for grain, and the adults were completely unconcerned.
to offer programs on everything from stress reduction and
Fear resilience is a lesser-known feature of natural herd
parenting to consensus building and mindfulness.
behavior that many humans have lost. Social structures based
She lives in Tucson, AZ.
on predatory models encourage people to prey upon each other,
Power of the Herd: A Nonpredatory Approach to Social Intelligence, Leadership, and Innovation by Linda Kohanov
creating inescapable stress in abusive work, home, or school environments. Developing nonpredatory power helps people
March 14, 2013 | Horses / Personal Growth/Business | $27.95 Hardcover/ebook | 456 pages | ISBN: 978-1-60868-676-3
boost their courage and combine forces to stand up to, and transform, the needlessly destructive practices that currently wreak havoc beneath the surface of virtually all cultures,
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and development. Using the historical, scientific and cultural perspectives I accessed, I worked hard to combine these insights with the nonverbal elements of power I had developed through working with horses like Merlin. Looking at history, as well as current political challenges, I came up with Four Stone Age Power Tools: archaic behavior patterns and power plays that exist beneath the surface of all cultural, religious, business, political, scientific, and philosophical persuasions. But it’s not enough to avoid what’s NOT working. To resist
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Western Equine Artist
Cheryl Harley-Volz Western and Portrait Pencil Artist
Horses in art 2012 WAOW AWARD WINNER ARTIST STATEMENT: I don’t know which I loved more as a child, my pencils, or my
transfer to my art in order to give it a visceral quality. When I train
stick horses. I blame television’s Roy Rogers and Trigger for the
a horse, it literally feels like I’m sculpting their body. When I draw,
horse obsession. Over time, I gradually began drawing realistic
it is the other way around. I work from the inside out, placing the
horses, and got more and more infatuated with the pencils. I still
skin over what I know to be muscle and joint. Thinking in 3-D
love the challenge of manipulating graphite between whispers
helps my 2-D representation: like Michelangelo, I draw on the
of gray and the blackest of blacks. Colored pencils are my new
physicality of the experience.
fascination. The play on positive and negative space fascinates
me, so I often leave much of the background untouched. There is
are emblematic of the West. Striving always for gritty realism, I
beauty in what is drawn against the foil of blank paper.
capture the cowboy life, soul, and spirit of the people and animals
The feel of a horse, as we work together as a team, helps
I deeply admire as they live and work, displaying their zest and
me achieve the sensuality of mass, muscle, and motion I want to
gusto for life.
www.HorsesInArt.com
My work elevates the common but unique personalities that
Spring / Summer 2013 Horses in Art 47
The Biography of
Cheryl Harley Volz
"WILLING"
Harley-Volz has Western jeans in her genes.
with the beloved pencil being her forte. She loves the Western
The factor must be dominant because her sister and she are
attitude and revels in competition, believing in the intense work
cowgirls. I expect this comes from their Colorado ranch-raised
inherent to both. The heart she has for the human soul and its
mother. Cheryl was reared a “city kid” in Missouri, but had the
connection to the spirit of animals comes to life in her work,
delight of visiting her uncles’ Colorado cattle ranches every
giving a glimpse into her reality.
summer. The days were spent riding horses all over Cripple
Creek and Victor, working cows, brook trout fishing, trapping
chipmunks, and exploring old gold mines. It was exquisite.
Her father was an architectural engineer. His artistic gene
The heart she has for the human soul and its connection to the spirit of animals comes to life in her work, giving a glimpse into her reality.
must have been dominant too as both girls are professional artists.
He used to sit them down in his study with pencils, paper, erasers,
the Kansas City Art Institute. She has a BFA in drawing
While still in high school, Cheryl studied drawing at
French curves, scales, and erasing shields. They were entertained
and painting from Colorado State University, Ft.
for hours. Cheryl still has an affinity for pencils and what they can
Collins, Colorado. Her father said she majored
do. Precision and a draftsmanship quality are prevalent in her
in art and minored in horses. I think he
drawings. She thanks him for that.
had it backwards. Cheryl later studied
These two hereditary traits are well-partnered in Cheryl’s art
drawing and painting at Western States College, Gunnison, Colorado, and earned her art teaching license from Colorado State University.
Cheryl’s efforts have
been blessed as she has won on a professional level in team roping, barrel racing and goat tying. She’s also been juried into and won many awards in open art shows in Colorado,
"HARD PULL" 48 Horses in Art Spring / Summer 2013
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"MOUN TING TENSION" California, Kentucky, Arizona, Utah, North Dakota, Montana and Nevada, where she was accepted as an Artist in Residence.
Cheryl has built a base of collectors in twelve states and
abroad, been juried into the WAOW (Women Artist of the West) as an associate member, and the North Dakota Cowboy Hall of Fame. Her website www.charley.net actively promotes her award winning work. She is represented by Fawn Creek Gallery, Meeker, Colorado and the North Dakota Cowboy Hall of Fame Gallery. Rodeo News magazine ran a feature article on Cheryl, “The Art of Rodeo” in their May, 2012 issue.
Top right: "THE GIRLS" Middle right: "M Y TIMES ARE IN HIS HANDS" Bottom right: "SANDY & WILSON" View more of Cheryl Harley-Voltz artwork at:
www.charleyart.net www.HorsesInArt.com
Spring / Summer 2013 Horses in Art 49
artist Cynthia Sampson The creative use of bold, bright color opposites is an eye-catching individual style of painting from artist Cynthia Sampson that catches one’s attention. Her use of vibrant colors has caught the eye of many as they found themselves attracted to the bright red horse on a “14 Hands” wine bottle label.
Her pastel painting “Wild Horses” is the featured
artwork of this wine.
Even as a child, Sampson was drawn to use the brightest crayon in the box. She drew tigers in yellow and purple, while zebras transitioned from black and white images to multicolored works of childhood art.
It was Sampson’s intense color contrasts that
landed her horse art on Ste. Michelle Wine Estates’ “14 Hands” label.
An animal artist who works in pastels as well
as acrylic and oil stick paintings on gallery canvas, she has a special fondness for horses. In order to photograph horses for her artwork, Sampson often travels to horse shows, ranches, rodeos and also visits wild horse herds. One place she loves to go to is Disappointment Valley in southwest Coloradojust south of where she lives. Here in the Valley, she studies, watches and photographs the Spring Creek wild horse herd.
50 Horses in Art Spring / Summer 2013
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"Wild Horses" on the “14 Hands” wine label originated from a Nevada wild horse herd. Sampson has created a new series of pastels of running horses based on her three horses in "Wild Horses." There are four paintings: "Wild Red,” "Wild Purple" and two versions of the third orange, mystery horse called "Wild Paint" and "Wild Tangerine.”
"Wild Horses" Licenced to St. Michelle Wine Estates
www.HorsesInArt.com
Spring / Summer 2013 Horses in Art 51
"Mrs. America" is a pastel portrait of a wild mare and her colt done in the colors of red, white and blue on a black background. "Topaz" is a portait of a wild mare painted in yellows and purples on canvas with acrylics and oil paint stick. "Freedom Fighter" is one of Sampson's newest pastel paintings that captures the wild spirit of the Spring Creek herd.
Several of her horse paintings feature individual horses from
they thunder away in the distance. Sometimes I get lucky and get
this herd. “Mrs. America” is a pastel portrait of a wild mare and
to see and study some up close. Horses are naturally curious. I
her colt done in the patriotic colors of red, white and blue on a
have used that curiosity to get great photos of them. I walk by
black background for contrast. “Topaz” is a portrait of another wild
myself with my camera pretending to just be going for a walk and
mare painted in yellows and purples on canvas with acrylics and
not interested in them, but something on the ground. When I think
oil paint stick. “Freedom Fighter” is one of Sampson’s newest pastel
that I have their attention, I may even sit down on the ground.
paintings that captures the wild spirit of the Spring Creek herd.
“I love being out in Disappointment Valley with the Spring
what I am doing. I have gotten some great close- up photos with
Creek wild horses. Sometimes I only get glimpses of the horses as
my telephoto lens of the horses in action with the wind blowing
“I have had some horses get fairly close to me wondering
through their tangled wild manes.” This winter in her studio, she revisited her wild horse memories and photos that she took during a trip to Kelly Creek, Nevada and the wild horse herd there. It was from that trip that her pastel painting “Wild Horses” originated from.
Sampson has created a new series of pastels of running
horses based on her three horses in “Wild Horses.” There are four paintings: “Wild Red,” “Wild Purple,” and two versions of the third orange, mystery horse entitled “Wild Paint,” and “Wild Tangerine.”
Getting encouragement from her parents from early in her
childhood, she remembers, “Growing up I was always allowed to make creative messes and they never let me run out of art supplies. The best advice I ever received about my artwork was from my dad. He told me, ‘Always listen to every opinion or criticism about your artwork. Sort out what you want and can use to improve your work and throw the rest away. Find your vision. In art, there is no right or wrong way.’”
52 Horses in Art Spring / Summer 2013
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Cynthia Sampson
attended Utah State
University where she focused on silk screen and fabric design which has greatly influenced her artistic methods. “I layer pure color and use color combinations next to each other to get the effects that I want. I seldom blend or mix the colors I choose. I loved those fabric design classes. The instructor wanted the students to find their individual artistic voices in creativity, design and color. We would
Diane Williams
often stay late into the night creating and printing our fabric designs.� Sampson has always found a way to use her artistic talents to earn a living. During high school, college and afterwards, she found jobs with newspapers, screen printing shops and sign companies in their art departments. Since 1990, she has been self-employed fulltime with her artwork, ZebraJazzStudio, and her sign business. Sampson participates yearly in several art shows in Colorado. She has artwork at The Great Frame Up in Grand
Simona Tarakeviciute
Junction, CO and in her gallery, ZebraJazzStudio. A member of the International Equine Artists, and The Pastel Society of Colorado, her artwork continues to win awards. She has also been published in Wildlife Art magazine, The Pastel Journal, Spirit of
Kim McElroy
the Road RV Journal, and Telluride Style, in addition to numerous newspaper articles. Sampson has had several solo shows and has her artwork in private and corporate collections in the United States and Europe. She can be reached at her website www.zebrajazzstudio.com or email csampson@
Jan Taylor
zebrajassstudio.com, or phone (970) 865-2383.
Diane Soloman
Susan Williams
Liz Mitten Ryan
Offering prints, mousepads and many more equine inspired products by gifted artists.
www.EarthWindandHorses.com
www.HorsesInArt.com
Spring / Summer 2013 Horses in Art 53
Horses.com www.EarthWindandHorses.com www.EarthWindandHorses.com www.EarthWindandHorses.com
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The World's Premier Equine Artisan & Lifestyle Magazine
Horses in art SPRING/SUMMER 2013
2 0 1 3 Equine Artisan Directory Directory Cover features "Aqua" by Kim McElroy www.spiritofhorse.com
ART
57-65
ART
fashion
66
fashion jewelry
mosaics
67
mosaics
photography
68-69
photography
sculpture
70
sculpture
workshops
71-72
workshops
ART
2013 Horses in Art Directory
art
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Terry Swanson ART 818.957.0515
tswanson.fineartstudioonline.com Oils - Watercolor - Graphite Equine & Canine Original & Commissions WAOW & CAC Associate Member
Kay Witt
Jan Van Ek Studios
Wildlife Portraits so Realistic They Almost Move
www.kaywitt.com Workshops Available. See website for details.
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art
2012 Bronze |
"We Are One" | Limited Edition of 10 | 40"h x 9"w
www.janvanek.com
2013 Horses in Art Directory
Diane Williams paints the spirit of horses
View online Diane’s inspirational journey with the Wild Horses of Sable Island
ART
Equine Artist & Photographer
Photography - Commissions - Instructor of Equine Painting
www.DianeWilliamsArt.com
“Soul Gazing” | Suffield Mustang 30x40 | Oil on canvas
Phyllis Waltman
"Equine Passion"
www.artforthehorselover.com horseartbyphyllis@hotmail.com
307-578-7097
2013 Horses in Art Directory
art
59
Be sure and visit the Women Artists of the West, Inc. showcasing Cheryl Harley-Volz most recent art at the
ART
2013 43rd National Exhibition “WAOWing the Centennial State” July 6 – 28, 2013 Cultural Arts Council Fine Art Gallery Estes Park, Colorado
Horses In Art Magazine 2012 WAOW Award-Winning: "Like Peas and Carrots"
Western Equine Artist
Cheryl Harley-Volz Western Artist Cheryl Harley-Volz captures the cowboy life, soul, and spirit of the people and animals she deeply admires as they live and work, displaying their zest and gusto for life.
Western and Portrait Pencil Artist
WAOW Associate Member
Originals, Geclée Prints and Commissions available at "Willing"
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art
www.charleyart.net
2013 Horses in Art Directory
Zebra Jazz Studio
Nancy Christy-Moore ART
Cynthia Sampson
Wine label artist for Ste. Michelle's14 Hands brand csampson@zebrajazzstudio.com
970-865-2383 www.zebrajazzstudio.com
An internationally recognized award-winning painter brings the joy of color, energy and movement to her abstract mixed watermedia paintings created on both canvas and paper.
623-487-4031 www.nchristy.com
Equine Artist WAOW Associate Member CPSA Signature Member
"Chesapeake"
Winner of the Blue Ribbon for the State of Texas, 2009 Colored pencil on suede matboard Original $1800. ~ 11" x 14" Prints $150.
info@helenbaileyart.com
214-673-8036 www.helenbaileyart.com
2013 Horses in Art Directory
art
61
Laura Jo Sherman WAOW Associate Member
Beryl Foust-Hovey
ART "Summer Afternoon" | 18" x 24"
"Benny" | Commissioned Pastel Painting | 12 x14 "Shakers and Movers" | 12" x18"
www.LauraJoSherman.com
laurajos@msn.com
971-237-8281 www.berylfoustpastelartist.com
Liz Mitten Ryan
Jan Taylor
Come and Get It!
The Saga of Western Dinnerware Makes the perfect gift for any horse lover with its incredible assembly of western dinnerware that shows the true inspiration of the horse throughout our history. Autographed copies from the author, Corinne Joy Brown, at $29.95 +s/h at
www.CorinneJoyBrown.com 62
art
Diane Williams Offering prints, mousepads and many more equine inspired products by gifted artists.
www.EarthWindandHorses.com
2013 Horses in Art Directory
ART Commissioned Portraits
Not merely a likeness, but a timeless work of art that celebrates the beauty, presence, and spirit of your beloved horse
Secrets of Drawing Horses DVD ~ $29.95
the Visionary Artistry
Kim shares easy and inspiring techniques for drawing that will change the way you look at horses
of
Visit Kim’s website
www.spiritofhorse.com and experience why she is one of the world’s most beloved equine artists
Exquisite Prints and Posters
A selection of over 300 works of art Custom made to order in a variety of sizes Kim McElroy’s ~ Spirit of Horse Gallery PO Box 1250 - Kingston - Washington - 98346 - 360.297.7736 www.spiritofhorse.com www.spiritofhorsecards.com Email: artist@spiritofhorse.com
2013 Horses in Art Directory
Inspirational Animated Musical Horse eCards
Sign up and send unlimited ecards sharing your love of horses for only $10 a year
www.spiritofhorsecards.com
art
63
T iled Hors e M ural s ART
The perfect decor or unique gift for any horse lover! HUGE Selections to choose from!
www.ArtworkOnTile.com 800-975-7839 Ready to order selections also available at
Store.ArtworkOnTile.com
Artwork On Tile is your source for fine art tile murals and accents on ceramic, tumbled marble and glass tiles. We offer a huge selection of horse art by accomplished equine artists. All of our murals are individually handcrafted and made to order. Shipment is typically within 6-10 business days (M-F). Additional sizes are available. All of our murals and accents are backed by our100% Quality and Satisfaction Guarantee. Order online or give us a call today to get your order placed in time for the holidays.
1
2
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1. “Free for All” by John Fawcett 36” wide x12” tall on 6” ceramic w/satin finish SKU: JFA018CS36x126 $180. plus $20. s/h 2. “Coming Through the Canyon” by Mikki Senkarik 25.5” wide x17” tall on 4.25” ceramic w/satin finish SKU: MSA030CS25x174 $185. plus $20. s/h 3. “Two Fillies” by Tisha Whitney, 18” wide x 24” tall on 6” ceramic w/satin finish, SKU: POV-TWA013CS18x246 $185. plus $20. s/h 4. “Dakota” by Diane Williams, 24” wide x18” tall on 6” ceramic tile w/satin finish SKU: DWA010CS24x186 $185. plus $20. s/h
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art
2013 Horses in Art Directory
THERESA Â PADEN ART
PAINTING THE COLORS OF THE WEST
www.theresapaden.com theresapaden@gmail.com 805.279.2957
2013 Horses in Art Directory
art
65
Lynn Bean “Trail of Painted Ponies� and fine artist Lynn Bean introduces Fashioned Embroidered Horse Art Designs and Copper Reflection Jewelry.
fashion
Original designs and art by Lynn Bean will compliment your wardrobe and add unique style for the equine enthusiast.
www.lynnbean.com Embroidered Horse Art Designs T-shirts start at just $24
Copper Reflection Jewelry Bracelets start at just $20
www.lynnbean.com 66
FASHION
2013 Horses in Art Directory
mosaics
2013 Horses in Art Directory
MOSAICS
67
photography 68
Photography
2013 Horses in Art Directory
photography
Diane Williams paints the spirit of horses
Equine Artist & Photographer
Photography - Commissions - Instructor of Equine Painting
View online Diane’s inspirational journey with the Wild Horses of Sable Island
www.DianeWilliamsArt.com
Horses In Art - Summer 2011
The Forgotten Horses by Tony Stromberg
Back Issues Available Hurry! Limited Quantities!
www.horsesinart.com “Soul Gazing” | Suffield Mustang 30x40 | Oil on canvas
2013 Horses in Art Directory
photography
69
Yvonne Kitchen
Jan Van Ek Studios
SCULPTURE "Naptime" 8" x 11" x 4.5" | $2925.
Bronze Portraits from Nature AAEA, IEA, Associate Member SAA, WAOW
541-535-5365
www.yvonnekitchen.com
2012 Bronze |
"We Are One" | Limited Edition of 10 | 40"h x 9"w
www.janvanek.com
Nancy Christy-Moore
WORKSHOPS
An internationally recognized award-winning painter brings the joy of color, energy and movement to her abstract mixed watermedia paintings created on both canvas and paper.
Workshops throughout the year in sunny Scottsdale, Arizona! Call Nancy or visit website for more information:
623-487-4031 www.nchristy.com 70
SCULPTURE / WORKSHOPS
2013 Horses in Art Directory
WORKSHOPS
2013 Horses in Art Directory
WORKSHOPS
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"The future belongs to those who believe in the beauty of their dreams." -Eleanor Roosevelt
Liz Mitten Ryan
Jan Taylor
Diane Williams
Diane Solomon
Kim McElroy
Sandra Wallin
Susan Williams
Simona Tarakeviciute
Offering prints, mousepads and many more equine inspired products by gifted artists: Kim McElroy, Diane Williams, Jan Taylor, Liz Mitten Ryan, Sandra Wallin, Simona Tarakeviciute, Diane Solomon and Susan Williams at
www.EarthWindandHorses.com
Photography by Sandra Wallin