T he horse occupies an undeniable role in human history and art history, from the caves at Lascaux and Chinese Tang dynasty ceramic funerary horses to Franz Marc and Marino Marini in the early 20th century. My relationship to horses, wild / feral and domestic, has been at the heart of my recent studio work. I appreciate that I am part of a long lineage of artists who share content and imagery, but have recently been compelled to become acquainted with contemporary artist peers who share equine imagery. What questions and concerns connect us? What role does equine imagery play in the 21st century? How do cultural differences regarding the role of visual art and the role of the horse in various communities alter imagery and content? What concepts and iconography are legacies and which are ephemeral? Participation in the Horse and Art Research Program (HARP) in the summer of 2016, a unique artist residency in Barnag, Hungary founded by Beáta Veszely and Márton Szmrecsányi, provided an opportunity for a number of international artists working with equine imagery and content to meet. The two weeks of intense conversation created the catalyst to initiate this exhibition. It was difficult to invite only ten artists. The selected artists are primarily from the U.S. and Europe, generally share similar racial, educational and economic backgrounds and over half were involved in the Hungarian residency. A few are artists working with the horse that I encountered prior to the residency. The work produced by these artists addresses a range of visual dialogue that explores horse-horse and human-horse interactions. We all possess an ideal horse, a fantasy, we hold our horses, and swear that wild horses could not drag us away. There is something universal and primal about the horse. Mark E. Ritchie Professor of Art in Printmaking, University of Wyoming “The man without a horse is like a bird without wings.” Mongolian Proverb 5