Writing about Lydia Kiernan is difficult given her self-confessed
loathing of this kind of appraisal. It is also true that anything
notable to be said is evident in the work, it speaks for itself.
Predictably, Lydia's love of horses stems from a childhood
passion; she was drawn to her local stables with the same infatuation
shared by so many little girls who find the lure of this animal
irresistible. Later, she trained at Falmouth School of Art and was
thus afforded the privilege of combining her two great loves.
Where the subject is not in any way original, Lydia's
artistic expression of it is. This is largely to do with the fact
she is unhindered by the archetypal and often unavoidable emotional
or sentimental image of the horse. Instead of this she is driven
by the pursuit of creative experiment and growth.
Lydia considers drawing to be of paramount importance and it is
this technical awareness that forms the foundation of her work,
with this she is able to make abstract anatomical references that
acknowledge the horse as a skeletal creature. From here Lydia allows
the work to take on it's own identity and dictate it's own conclusion.
The greatest compliment to Lydia's work is the approval
that it has received from those who work closely with horses in
their day-to-day lives, many of whom appreciate it despite an otherwise
cynical attitude towards equestrian art.