Unbridled: Horsin’ Around

LATITUDE Gallery is delighted to announce Unbridled: Horsin’ Around, a salon-style group exhibition celebrating the Year of the Horse. This show brings together artists from diverse cultural backgrounds, visual languages, and historical sensibilities, all orbiting around a single, unruly figure: the horse. Participating artists include Sarah Avolio, Emma Beatrez, Patrick Bower, Alice Brasser, Cam Champ, Leru Chen, Yishi Chen, Liane Chu, Ana Cristina, Miguel Escobar, Tim Gardner, Till Gerhard, Priya N. Green, Ho Jae Kim, Dene Leigh, Guanguan Li, Xu Li, Xing Li, Xi Li, Iris Yehong Mao, Cici McMonigle, Sarah Alice Moran, Nicolina Morra, Dylan Rose Rheingold, Alan Skalaski, Antonio Vidal, Zhizi Wu, Zexu Wu, Zan Wang, Wendy Wei, Darcy Whent, Hugo Winder-Lind, Timon Yc I, Leonard Yang, and Theresia Zhang. Neither purely symbolic nor merely representational, the horse appears here as a migratory image, one that has galloped across myth, labor, warfare, leisure, cinema, and the modern imagination. This exhibition embraces abundance, adjacency, and visual excess, allowing meanings to proliferate rather than stabilize.

Throughout art history, the horse has been a paradoxical companion to humanity: at once instrument and idol, worker and spectacle, intimate and otherworldly. From Paleolithic cave paintings to imperial equestrian portraits, from Tang tomb figurines to Romantic battle scenes, the horse has served as a surface upon which power, desire, speed, freedom, and violence are projected. To depict a horse is rarely to depict an animal alone; it is to summon an entire infrastructure of movement, mastery, myth, and longing.

In the modern era, the horse is no longer simply represented, but inaugurates a new way of seeing, becoming the very occasion for the birth of modern image-making. Eadweard Muybridge’s The Horse in Motion (1878) famously fractured the animal’s gallop into discrete frames. Movement, once continuous and intuitive, is dissected, analyzed, and replayed. The animal becomes a machine for thinking about time. In Unbridled, some works treat the horse as a cultural memory; others approach it as a personal totem, a cinematic cliché, or a fragmented symbol. The exhibition refuses to discipline the image into a single narrative.

The salon-style installation amplifies this refusal. By crowding the walls with works in close proximity, the exhibition foregrounds resonance over hierarchy, conversation over chronology. A contemporary abstraction might sit beside a traditional ink painting; a devotional image might brush against a cartoonish sketch. Meanings do not unfold linearly, they ricochet, overlap, and interrupt. Unbridled: Horsin’ Around does not ask what the horse means; it asks what the horse does, to seriousness, to spectacle, to fantasy, to memory, to the urge to keep moving.