TarantoSold

Air does not surround the horse; rather, it constitutes it. Faced with the solid heaviness that sculptural tradition typically imposes on equestrian monuments, Taranto articulates itself through the inverse gesture, drawing volume into the void with metal filaments. A bundle of copper and earthy brown lines braids the beast's anatomical perimeter in three dimensions, allowing light, the surrounding architecture, and living foliage to inhabit its ribs and belly. There is no skin or armor, but rather a graphic armature that suspends the figure in a state of perpetual transparency.

The power of the piece stems from the rhythm of its metallic calligraphy. Cynthia Sáenz employs an enveloping stroke where rods twist, knot, and branch out as if they were charcoal gestures projected into physical space. The spine and upper crest of the neck concentrate a heavier density of twisted wire, establishing the axis of tension that sustains the alert, upright posture of the head. From that central spine, the metal loosens into open loops and spirals that evoke the ribcage, flanks, and hindquarters, achieving an illusion of muscular mass that exists solely in the eye of the beholder.

Measuring over two meters in height and two and a half in length, the work commands an imposing life-size scale, yet relinquishes any sense of burden. The pictorial treatment of the metal, with matte, oxidized tones, enters into dialogue with the vegetation and immediate setting, assimilating the outdoors as an active constructive element. On this threshold between aerial drawing and hand-bent industrial material, the horse oscillates between bodily presence and the ghostly memory of its passage: an animal seemingly about to dissolve into the foliage or surge forward driven solely by the wind blowing through it.