During my morning stroll to the studio, I was visually accosted by the image of this giant white horse with a man strapped to his back. Not enough coffee, I thought? Not the case. Turns out John Fluevog has graciously agreed to display the work of David Robinson, specifically his Equestrian Monument piece, in the storefront window of his Water Street location.
To say that the sculpture is eye-catching would be an understatement. The enormous size alone demands the attention of nearly every passerby. Just over lunch today, I watched as people passed by the store, not one able to walk by without taking a peek.
The way Robinson plays with exaggerated proportions reminds me of a Salvador Dali painting, at least from my uneducated perspective. With all the international visitors pouring into town, it’s a great time to showcase some of Canada’s greatest artistic talents.
The equestrian monument prevails in endless variety across the history of art.
In a time before I had learned of their often violent and imperial past, with the eyes of a child I saw these archaic bronzes in their simplest and most mythic form: full of narrative, free of history.
This first impression has stayed with me as I find myself returning time and again to the unraveling and reprising of the equestrian theme in my own artwork. Now thoroughly out-moded, and thus freed of its political harness, I periodically inquire after this troubled partnership of man and beast as they wander the imagination – a vivid motif in search of a better story.
“Robinson’s work underscores the possibility that the sacred is with us still, even in the midst of our secular, consumerist society.” – Vancouver Sun