Nicola Hicks Horses
20 May - 31 July 2026

Nicola Hicks
Horses

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Overview

This selection celebrates British artist Nicola Hicks’s sustained examination of horses as subjects over several decades, through which movement, physical presence and emotional intensity are explored. The horse occupies a singular place within the history of art, carrying centuries of symbolic and cultural associations as an enduring image of power, vitality and freedom. Hicks engages with this rich tradition while resisting many of its conventions. Rather than presenting the horse as a symbol of authority or spectacle, she approaches the animal as a living presence - instinctive and psychologically resonant. Working through energetic mark-making and close observation, Hicks seeks less to describe the horse than to evoke its spirit and immediacy.

'I'm not really that interested in describing things. What I'm trying to do is write a poem. I want more....

"I'm not really that interested in describing things. What I'm trying to do is write a poem. I want more. I don't want to describe a bear to you. I'd rather have a bear in the room." - Nicola Hicks

 

Built from urgent charcoal marks, smudges and absences, the drawings of Nicola Hicks carry the physicality of her renowned sculptural practice, while their unfinished edges leave room for uncertainty, allowing movement and emotion to remain active within the image. Instead of recording anatomy alone, Nicola Hicks evokes temperament, allowing the horse to emerge through rhythm and instinct. Charged with intensity, the works occupy a space between representation and memory, where physical form becomes inseparable from psychological presence. 

ABOUT NICOLA HICKS

Nicola Hicks was born in London in 1960 and studied at Chelsea School of Art (1978-1982) and the Royal College of Art (1982-1985), receiving an MBE in 1995 for her contribution to the visual arts. Hicks' sculptures and drawings have been exhibited in numerous international museums and galleries. Selected solo exhibitions include Sorry, Sorry Sarajevo at St Paul's Cathedral, London (1993); Sculpture by Nicola Hicks at the Yale Center for British Art, New Haven, United States (2013-14); and her work was included in The Universal Addressability of Dumb Things (2013), curated by Mark Leckey, as part of the Hayward Touring series at venues across the UK. Hicks has numerous works on public display, including Crouching Minotaur (1995) at Schöenthal Monastery, Switzerland, and Muscle and Blood (2001) at 600 Lexington Avenue, New York. 
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