Horse and Rider IV 1970 - 1971

Curator: Here we have Dame Elisabeth Frink’s Horse and Rider IV, from the Tate collection. Editor: It looks spectral, almost an apparition emerging from the paper. The monochromatic palette is so restrained, it's really about the forms themselves. Curator: Frink repeatedly explored the horse and rider motif. This reflects the post-war anxieties of the time, with equestrian statues often evoking power and authority, here, subtly critiqued. Editor: The rapid, almost skeletal line work, creates such a powerful dynamic tension—the horse's limbs are so spindly, yet it suggests forward motion. It's a controlled chaos. Curator: Absolutely. Frink's sculptural background also informs her printmaking, giving the figures a very tangible, almost imposing presence, despite the medium's flatness. Editor: I see that interplay perfectly. The ghostly application of color, juxtaposed with stark line, makes it feel unfinished, raw. Curator: A fascinating look at how an artist can echo broader sociopolitical sentiments through seemingly simple, formal choices. Editor: Agreed, the visual economy of this piece certainly amplifies its expressive force.