Tim Riesing Creates Horses that Rock - by Sarah Crampton
Les Chevaux de Camargue - by Sarah H. Crampton
Art at the Classic
Letters from horse lovers
The foreign countries and diverse lifestyles were more than something of interest to look at or visit. I considered many as possibilities for my life. As a result, I have a true affinity for people who hear the irregular beat of a distinct drum. I am drawn to it. I even seek it out.
The ability to observe, a skill honed by artists, is invaluable while traveling. If you are in a strange land, the language indiscernible, and you are uncertain about what is expected, the best move is to let a native take the lead. Stay a beat behind, then fall in and sample it their way.
I think of art in the same way. You have to step back, observe and fall into the painting to see beyond the picture frame. It's the tantalizing magnet that pulls me into viewing original artwork.
This past year we've had some exceptional contributions to this publication to experience with eyes wide open. Debra Korluka's article about Russia in the Summer 2002 issue had me itching for a plane ticket. As the artist Verdayle says in this issue, "It gave me a glimpse of something I might not otherwise see."
I find the artists' most meaningful creations represent the world through their own experience, and the viewer is the beneficiary. In this issue you will be awakened to an area in southern France, La Camargue, and its famous wild white horses by insightful personal glimpses provided by artist Karen Foster-Wells.
Within minutes, the paintings had me dreaming about brushing up on my French, tasting Rhône style wines, sampling unimaginable culinary French delights and galloping the white horses through the marshes. I'm surprised I'm not writing this editorial from an Air France jet.
For the holiday season approaching, I wish you and yours every blessing and leave you with this quote:
Contact us: EquineVisionMag@aol.com