I don’t know which I loved more as a child, my pencils, or my stick horses. I blame television’s Roy Rogers and Trigger for the horse obsession. Over time, I gradually began drawing realistic horses, and got more and more infatuated with the pencils. I still love the challenge of manipulating graphite between whispers of gray and the blackest of blacks. The play on positive and negative space fascinates me, so I leave much of the background untouched. There is beauty in what is drawn against the foil of blank paper.
The feel of a horse, as we work together as a team, helps me achieve the sensuality of mass, muscle, and motion I want to transfer to my art in order to give it a visceral quality. When I train a horse, it literally feels like I’m sculpting their body. When I draw, it is the other way around. I work from the inside out, placing the skin over what I know to be muscle and joint. Thinking in 3-D helps my 2-D representation: like Michelangelo, I draw on the physicality of the experience.
My work elevates the common but unique personalities that are emblematic of the West. Striving always for gritty realism, I capture the cowboy life, soul, and spirit of the people and animals I deeply admire as they live and work, displaying their zest and gusto for life.