Curatorial Rationale

The aim of this exhibition is to spread awareness of the objectification of animals by the wealthy whilst exploring my own identity through a series of digital paintings and 3D sculptures. I have spent the last 2 years working hands-on with OTTBs (off the track thoroughbreds, ex-racehorses) learning about the industry and the impact of continuous negligence on the mentality of these animals even years after they have retired from the track. The artworks create visually confronting images, modelled after photos of the horses I’ve worked with personally, in aims to capture an audience and give insight into the equine industry which is so commonly kept hidden from the public due to the abusive practices used for a simple gold medal. These artworks are not intended to glorify or romanticise the industry, subverting the norm of painting flowing manes and horses galloping through a field of flowers.

The overarching theme of the exhibition is horse cruelty, weaved together with the multiple sub motifs of objectification of animals, the racing industry and finally my identity which are explored through various mediums. The exhibition balances 3-dimensional and 2-dimensional work, creating individuality in each piece whilst also allowing for a new sense of realism, more specifically in the sculptural work thus expanding the outreach to the audience in a new personal sense. This individuality also allowed me to explore multiple different areas under the overarching theme, creating parodies based on Jacque-Louis David's famous 1801 ‘napoleon crossing the alps’ to large cardboard sculptures inspired by the work of Olivier Bertrand. I also created work based on large equine sectors such as the racing industry and the event of ‘big lick in order to keep a macro lens whilst also being specific to the aim. This then intertwined with my two identity pieces of Yin and Yang as I feel a personal connection to the horses as It is my job to rehabilitate them, but I also wanted to take note of how they have helped me mentally through stressful periods in my life thus connecting all the work together in relation to myself.

Through the creative process, it was important for me to keep in consideration the display of the artworks so that the audience reception of the final exhibition would correspond to the overall objective of spreading awareness. The 3-dimensional pieces were made to life-size scales, formulating aspects of realism whilst also creating a confronting atmosphere as the audience can see first-hand the reality of practices such as the branding of labels onto the shoulders of the horses. The digital works then juxtapose the sculptures by featuring bright colours with a multitude of different stylisations ranging from cartoon to realism, capturing a large range of audience members as the work aims to appeal to various demographics who may interpret the work differently. All the artworks intertwine to an extent with each other, following the same path contextually whilst also bringing in elements of individuality and opening doors to separate sectors within the industry which require the attention of the public. My hope is that the audience walks away from my exhibition with new insight and perhaps curiosity into the reality of the equine industry and why events such as horse racing should not be blindly supported for simple amusement. Additionally, there is something to be found in the work about the beauty and livelihood of these gentle animals which are shaped by the actions of mankind.