Encaustic Arts Magazine WINTER 2017 - Page 77

Let me describe what happens behind-the-scenes before I even put brush to panel. It all begins with the photo shoot. One person with a camera and the other person working the horse. In particular, my horses like to do as little work as possible so you need to encourage them to run around and not trip over their feet at the same time. Frequently they decide that it is time to roll on the ground or mess with something that they shouldn’t. Capturing the strength, intensity, and gracefulness of a horse requires filtering through a hundred photos of yawns, weird angles, and horsey bathroom breaks. I laugh when I find a perfect shot because it might have been right before Rommel was startled by a butterfly and stumbled into a wall. Grace and beauty. The more I studied the animal, the more I was drawn to explore the most basic  color palette of them all: Black & White. I wanted to keep the colors extremely simple to showcase the raw power, movement and line of the horse.  I wanted all the attention to be on the animal.  What I wasn’t expecting was to develop a passionate love affair with these colors. This series has taught me that grey is subtle.   Grey is powerful.   Grey is limitless.  It is a continuum to see how far one can push and pull the extremes of light and dark. There’s something to be said about the false simplicity of Black and White and everything in between. The mid-tones, or “grey,” do not just become the backdrop to a