Colleen Cotey
I will never tire of the complexity found in portraying the animal subject. I am enthralled by the polarity of nature, the predator and the prey, wild creatures and their domestic decedents. Like many others who have devoted an extended period of time to understanding a species or particular animal subject, I recruit animals as an analytic tool - to symbolize, dramatize, and illuminate aspects of the human experience.
Arguably, every artwork is an abstraction of what we see. The most realistic and lifelike animal artworks are an abstraction of the animal subject. As someone who is passionate about wildlife and creating artworks on the topic, I must take into consideration the fragility associated with generating works centered on a living being, which possesses no means of vocalizing an opinion on their depiction. My responsibility to the animals lies in research. I believe the themes I explore, in regards to wildlife, are centered in respect - not making the animal into more or less of what it is. The creature in itself is enough.
My art is created in an attempt to remind others of the animals with whom we share this planet. I am not interested in representing a true, photographic resemblance; I am interested in capturing the essence of a given subject. In order for me to feel a piece is successful, it must have expressive eyes. I strive for my work to have eyes that speak to the viewer, portray an emotion, and tell a story. On commissioned portraits, I work diligently to render the animal's character – as known by its guardian. I make every effort to represent an individual's personality in each piece.
As a girl, the majority of my time was spent on or around my horse. The skills I developed as an equestrian have greatly inspired how I work with my materials today. Whether painting or sculpting, just as with riding, everything revolves around pressure. My work involves reading my animal, my canvas, my wire, and knowing when to put the pressure on - or take it off. As I develop as an artist, equestrian and human being, I am finding more and more that my work and life – has primarily become centered on appreciating my materials and my animals for what they are. Working with them to the best of my ability and trusting them enough to let go of the reins every now and then.
I will never tire of the complexity found in portraying the animal subject. I am enthralled by the polarity of nature, the predator and the prey, wild creatures and their domestic decedents. Like many others who have devoted an extended period of time to understanding a species or particular animal subject, I recruit animals as an analytic tool - to symbolize, dramatize, and illuminate aspects of the human experience.
Arguably, every artwork is an abstraction of what we see. The most realistic and lifelike animal artworks are an abstraction of the animal subject. As someone who is passionate about wildlife and creating artworks on the topic, I must take into consideration the fragility associated with generating works centered on a living being, which possesses no means of vocalizing an opinion on their depiction. My responsibility to the animals lies in research. I believe the themes I explore, in regards to wildlife, are centered in respect - not making the animal into more or less of what it is. The creature in itself is enough.
My art is created in an attempt to remind others of the animals with whom we share this planet. I am not interested in representing a true, photographic resemblance; I am interested in capturing the essence of a given subject. In order for me to feel a piece is successful, it must have expressive eyes. I strive for my work to have eyes that speak to the viewer, portray an emotion, and tell a story. On commissioned portraits, I work diligently to render the animal's character – as known by its guardian. I make every effort to represent an individual's personality in each piece.
As a girl, the majority of my time was spent on or around my horse. The skills I developed as an equestrian have greatly inspired how I work with my materials today. Whether painting or sculpting, just as with riding, everything revolves around pressure. My work involves reading my animal, my canvas, my wire, and knowing when to put the pressure on - or take it off. As I develop as an artist, equestrian and human being, I am finding more and more that my work and life – has primarily become centered on appreciating my materials and my animals for what they are. Working with them to the best of my ability and trusting them enough to let go of the reins every now and then.
