Horse and Rider, 1568-1615
Momoyama period. Japan
Ink and color on paper
Le grenier de Joigny, 1954
Carnival Horse, 1932
Horse under Cover (from the Paris Cycle), 2010
A Plaited Tail, 2005
For What Binds Us
There are names for what binds us:
strong forces, weak forces.
Look around, you can see them:
the skin that forms in a half-empty cup,
nails rusting into the places they join,
joints dovetailed on their own weight.
The way things stay so solidly
wherever they’ve been set down —
and gravity, scientists say, is weak.
And see how the flesh grows back
across a wound, with a great vehemence,
than the simple, untested surface before.
There’s a name for it on horses,
when it comes back darker and raised: proud flesh,
as all flesh
is proud of its wounds, wears them
as honors given out after battle,
small triumphs pinned to the chest —
And when two people have loved each other
see how it is like a
scar between their bodies,
stronger, darker, and proud;
how the black cord makes of them a single fabric
that nothing can tear or mend.
~ Jane Hirschfield
“What inspired you to turn a horse’s shoulder or rear-end into a piece of art?”
"To me … it is a piece of art. It is the structure of muscle and bone beneath the skin. It is the texture and warmth of the coat. It is the pattern of that coat. My images are what I call a “Visual Touch”. They are what the horse person sees and works with. Not the whole, but the piece. The piece you are grooming. The part under your hand."
White Horses: An Interview with Juliet Harrison
by Leia Hassey for Escape Into Life - December 2009