Daniel Crane & Frippy Jameson 'Bridle, Brush and Bronze'

Daniel Crane

''My love of hunting and the sporting calendar which follows is my life and entire inspiration. To share the trust of a great horse is a privilege, add to this the joyful tide of a pack of hounds and the view from the saddle is complete. To trot off to coverside in company, human, canine and equine, like minds all is Utopia.''

Daniel began capturing scenes of country sport, work, and life at a young age, furiously sketching and painting all he laid his eyes on. It was in Norfolk that he nurtured his love of hunting, and it here Daniel started to produce humorous cartoons observing some of the local hunt characters. Whilst at Art School these cartoons soon evolved into paintings. Hunting is still a rich source of inspiration for Daniel, and he delights in combining both modern and traditional practices in his work, which lend his paintings a wonderfully timeless style. Later in his career, Daniel spent time as artist in residence to the Household Cavalry mounted regiment, during the momentous period of Queen Elizabeth II’s Diamond Jubilee and the wedding of the now Prince and Princess of Wales. This exhibition includes previously unseen work from this time, in particular the stunning Sovereign’s Escort, and celebrates Daniel’s passion for equine life, showcasing both works old and new.

Frippy Jameson

Frippy Jameson studied Fine Art Sculpture at Camberwell College of Art and Design, City & Guilds of London Art School and with The Portland Sculpture Trust. Frippy moved from London and latterly Edinburgh to live and work from her studio in the Scottish Borders.

''My work moves to define the compound narrative of fragility and strength, patience and endurance, that surrounds the thoroughbred.''

The Placement of the sculptures, slightly offset, some on heavy stone plinths, aims to highlight the subtlety of the horse. The sculpture groups are strung across long pieces of sandstone; and with these compositions, Frippy encapsulates the space horses occupy in a paddock and reflects the intricacy of each of these relationships. The equine works she sculpts, capture an element of private pause; those intimate moments of pre or post work, Frippy studies the horse during breaks in racing, resting between seasons, or waiting in the yard after training. All the ‘in between’ parts of their existence hold her interest, the tranquil, still moments that make up the larger picture of a horse. Observing these beautiful animals when calm, seeing them beyond all the noise, is what Frippy captures in her extraordinary sculptures.