74 SIDELINES JUNE 2014
FORHORSEPEOPLE • ABOUTHORSEPEOPLE
UpClose andPersonal – a Lusitano stallion ridden by the
artist inPortugal at QuintodoArchino
TheGamesVillage at theAlltechFEIWorldEquestrianGames 2014 inNormandy
gorgeous sea of fit horses. It’s pretty rare to see that many good
riders inoneplace. It’s fun forme to see theobvious partnerships
with someof the competitors and theirmounts.
Tell us about your ridingbackground.
Sue Sherry has been my dressage coach through thick and
thin. She’s from the old-school classical dressage camp: Major
Anders Lindgren, Sally Swift, Mary Wanless, Erik Herbermann
and a few others all rolled up into one. It’s all about the horses.
I also train with Miguel Raolo from Portugal when he comes to
Oregon, and I went to Portugal for a month to ride with him. I
had the opportunity to ride for a couple years with Karl Mikolka.
I also have attended workshops and audited clinics with Manolo
Mendez and Linda Tellington-Jones. They’re amazing, intuitive,
consistent horse people.
How does your riding and teaching help you as an equine
artist?
I think it really helps to make good horse paintings. I have a
connection to horses that’s renewed almost every day and an
awareness of themuscles andexpressions. I knowwhat theears
turning a certainway or a tight chinmeans ... I think it’s helpful in
picking out the right moments to sharewith people.
Doesyour art havea certain style?
I like to thinkmy art would fit into the “expressionism” category
with a positive twist. My art explores the relationships of color,
texture and composition. The way the colors of the paint interact
with texture is mesmerizing. Like a magnet, it draws me in and
keeps me coming back to the easel. I think horses help with
our connection to the natural world. I enjoy putting the sparkle
in an eye or capturing the raw energy of a running horse with a
palate knife. I guess the main thing is, I really try to capture the
