▪ All the magical horses (Jory Sherman, the author of "The Ballad of Pinewood Lake", the winner of a Spur Award from the Western writers of America for "The Medicine Horn" and a nominee for a Pulitzer Prize for "Grass Kingdom")
Serbian riflemen on horseback charge across a plain, under a cloudy sky. A horse in harness races to the finish line, its nostrils distended, mane flying in the wind. A lone horse gambols across a meadow, hooves flying, tail flashing high like a gallant flag, turning in mid-flight with a graceful flow of energy that leaves the earthbound viewer breathless. A thoroughbred, with four white stockings, poses with a regal air, head up, turned toward something or someone unseen. Another horse, sensitive nostrils flaring, looks out from the canvas with soulful eyes, the white blaze on its face like molten lightning frozen in its visage. A lone Serb walks ahead of his horse, leading the animal across a sandy plain, the ornate saddle worn like a badge of honor atop the horse’s back. And, the pair of horses seems to be caught in a sudden flash of light, their affection for one another palpable, exquisite.
In the hands of artist Suzana Stojanović, a picture is not only worth a thousand words, she spends that amount, and more, on some of her paintings. She writes "stories" about the horses she draws and paints, but they are not stories in the traditional sense. They are prose poems, essays on life and love and the energy embodied in the universe of horses. These stories are as beautiful as her paintings, evoking deep feelings and tranquil reflections on what the artist sees and feels in that magical world of the horse.
Suzana is an amazing artist. Not only does she delve into realism, but paints in photorealism and hyperrealism. There is an electromagnetism in the latter forms that vibrates not only in the mind, but in the deepest recesses of the human soul. Her prose poems reflect that same light and intensity but flow so naturally that she achieves a lasting effect as well as a deeper appreciation for both her poetic visions and her art. The complimentary effect embeds both the image and the prose deep into consciousness, giving a kind of mythic structure to her paintings and her prose.
The myth always masks a deeper meaning, a more profound sense of the true, and Suzana’s work achieves that level of intensity. I feel as I pour over her work that she may well be the modern reincarnation of the ancient Gallic goddess, Epona, the goddess of horses. The horse she paints is not Pegasus. It does not have wings. But, beneath the paintings and interwoven into her prose, Pegasus lives and flies. And, when the light is just right, you might see not only one of her horses in a moonlit meadow, but a unicorn in the garden. Such is her power as an artist.