Animal Paintings

The Sculptural Forms of Animals

The initial inclusion of horses and other animals in my paintings happened while I was working towards an exhibit in Norway. Having lived there I knew that the landscape was never empty but continuously dotted with sheep, horses, or people. Yet like Saskatchewan, it has had a culture entrenched in the landscape. Growing up in Saskatchewan instilled in me a connection to the land. Extensive painting in Saskatchewan, and Alberta, frequently at ranches and farms continued the link between painting, nature, and animals as an iconography of a settled landscape. I became intrigued with the idea of rough stock and domestic farm animals as an intrinsic and major element of the composition and narrative.

These paintings have settings of either landscapes, rodeos, ranches, or heavy horse shows which are not wildlife but part of a socially constructed environment. The tradition of painting horses in Western art is extensive and the idea of how to contemporize this tradition has been a challenge and motivation. These creatures are perceived through the lens of culture. Nature and culture in these paintings are so entwined that it is impossible to separate one from the other. The process of painting animals is more that just conveying a motif but the record of a culturally charged and ever changing environment.

My animal paintings are examples of illusionist space. Modeling and the direction of light articulates the three dimensional shapes. The images are developed and explored in order to convey the strength, gesture, and sculptural forms of animals.

Upcoming Events

International Group Exhibit in Rome. “Landscape (Inside and All Around Me)”#2 ,Carlo D'Orta ArtStudio/Gallery in Rome
The gallery is located in the center, in Trieste district, an area characterized by the presence of embassies (e.g. of the Arab Republic), important ancient monuments (Catacombs of Priscilla, Mausoleum of Santa Costanza) and cultural institutions (German Academy of Villa Massimo).
The exhibition will be held from 20th January to 10th February 2022

Curator Adelinda Allegretti wrote: “The curatorial project entitled “Landscape (Inside and All Around Me)” began in 2014, with a first exhibition in Sigtuna, Sweden.
Several years later I selected the Carlo D'Orta ArtStudio/Gallery in Rome as a continuation of that experience. About the theme, here are the words in the catalogue of Sigtuna's exhibition: «The concept of this show was devised several years back for an exhibition space in Tivoli, near Rome but, as sometimes happens, logistic problems delayed the organization. When the opportunity arose for an exhibition in Sweden, I immediately realized that the concept that I had previously put aside was perfectly in line with the image of Northern Europe rooted in the collective unconscious. Its wide, uncontaminated spaces more or less intentionally conjure the idea of the right “emptiness” that is necessary to look inside oneself and discover the endless lands of our innermost self. Admiration and respect for the physical landscape is but a first, compulsory step towards an itinerary that starts from the outer in order to reach the inner space».

Recent Art News

Event invitation image

Solo exhibition, October 1-30th, 2019 at the Studio & Gallery of Adelinda Allegretti, Gualdo Tadino, Italy. Click image to view at full size.

Interview by Radio Tadino
Interview by trgmedia (Regional Television)

Recent Art News

NATALEINARTE

International Group Exhibit in Assisi (San Francis' town) curated by Adelinda Allegretti. 2nd-19th December. Exhibition is part of the 17th Giornata del Contemporaneo (Contemporary Art Day) promoted by AMACI - Associazione dei Musei d'Arte Contemporanea Italiani (Association of Italian Contemporary Art Museums).

Recent Artwork

Collector Invitation

For archival purposes and future public exhibitions the artist would like to invite collectors of her work, if they are interested, to share their names, the title, medium, year of the painting they own and contact information with her in order to facilitate potential curatorial research. Due to the closing of many commercial galleries previously exhibiting her work information pertaining to the location of earlier paintings has been lost. This information would be kept confidential in the artist’s records unless there was a request for a specific art work to be included in a public exhibition at which time the collector would be contacted for permission.