individuals and as icons or motifs for the species. The act of riding – perhaps the most obvious of human relations to the horse – is represented in a range of forms, reflecting personal and cultural ideas of horse(wo)manship, communication, and indeed the art of riding. The images in this exhibition represent both the art of recording, documenting and questioning, and the art of dreaming, creating and imagining, and these are often intertwined. Are some horses in these images ‘real’ and others ‘imagined’? They represent horses in very different worlds, from those wild and ‘free’, to those restricted and contained, and the artists’ techniques and styles often reflect these states of being. There is no line between the real horse and the imagined horse when you consider the human manipulation involved, from landscape boundaries to dressage training; humans and horses would not be what they are today without the histories they have shared. The artists here provoke scrutiny of these questions and reflection on who or what the horse is, through their representation, and in some cases further manipulation, of the horse. Natalie Hill Natalie Hill is a doctoral student in History at the University of Oxford, with a background in anthropology and art. She has just completed nine months of fieldwork in the United States for her thesis researching the relationship between northern Plains tribes and horses, and how these relations are depicted in art, from c.1700 to the present day. 3