One Horse Sleigh c. 1936

Aaron Fastovsky’s watercolor of a ‘One Horse Sleigh’ plays with the idea of seeing as a construction, a process in and of itself. The color palette is muted, almost as if viewed through a vintage lens. The texture of the paper is evident, the strokes of color bleeding softly at the edges. Look closely at the layering of the paint on the side of the sleigh. It is very thin, almost transparent in places, yet together they build up a rich density. It reminds me of how Agnes Martin worked, in these transparent layers. The way the red deepens into plum-purple in the seating area really creates a sense of depth and shadow. It's not photorealistic, but the use of color and line creates an uncanny sense of three-dimensionality. You can almost feel the cold air and hear the crunch of snow! Fastovsky seems to be in conversation with a long line of artists who blur the boundaries between representation and abstraction, such as Arthur Dove or Marsden Hartley. It’s a reminder that art isn't about replicating reality, but about creating different ways of experiencing it.