e hips of the horse both in the fore and back limbs have a questionable shade of desert sand color, and the rest of the horse’s body to be a drift of brown camel to desert sand color. The hurdle’s color is an unmistakable brown coyote color. The sculpture is not painted giving the art work an authentic and original look, agitated but natural look.
The horse is symmetrically in shape but not uniform, as a glance at the left and right sides shows different pieces of materials used in its construction. The hurdle on the other hand is purely asymmetrical is design and built. The sculpture covers an area bounded by an approximate length of six feet by three feet. The sculpture is finesse, but given some rough textural external feel especially at the head of the horse and at the tail, the body is joined by different pieces of wood, openly exposed to the eyes of the observer.
This work art is trully marvelous piece that enscapulates wildness . unfourtuntately the artists falls shorts of providing a desciptive name to his art works, and hence leaves obserevsers with the heavy tasks of allocating each art work their own interpretive description of the sculpture. The sculptutre above is made from driftwood floating off the coast off the coast of Washington state. The sulpture on closer inspection often lacks the smoth touch expected from a real life horse, and stand comparatively smaller. Situated at the sea front, the sculpture buit the art work in the concept of a free and wild horse floating on the shore line. However, a closer look that the horse is engaged in some sought of equesterian challenge like the ones used by man for sports. This is contradictory and erodes the idea of the free and wild horse.
A horse on a sea front can indeed imply a free spirit, one trying to connect with the inner being and playfully jumping by himself over a piece of barrier solidifies the free spirit of the horse. Indeed the sculpture portraying a break from the burdensome work