A job interview is not exactly an expected set up for an art sale. So when Lauren Zucker (now Richards) came looking for a job at Blackburn Architects some years ago, she found one. One she didn’t accept because graduate school had a stronger pull.
But in a strange twist, John Blackburn liked the student artwork she showed in her portfolio so much he bought it. Two beautiful Lauren Zucker black oil bar on paper works hang in the Blackburn Architects’ offices in Washington, DC. The large 48’x60’ framed paintings are captivating for the brush strokes evoking the fevered jostling of racehorses leaving the starting gate. They are lovely paintings, and visitors to the office often comment on them.
She described her work this way:
The Race: Within the conﬁnes of 10 furlongs there are meta-corporeal aspects of the horse race never experienced by the spectator. I ﬁrst knew the horse race as an unfolded experience through the medium of literature. Drawn out in detail were the visceral relationships between horse and jockey, the operations/politics implicit in a racing farm, the strategies and traditions of breeding and training, the excitement of race day morning, and the cognizant thought behind every move during the course of the race. The race compresses into 2 minutes, the life experience of each racer- horse or jockey.
The Drawing: Through drawing, I looked to fold the life narrative of the racer into gesture. Then, as in the race, montage the narrative of different racers. I found inspiration for expressing this agony of entanglement in Picasso’s Guernica. The narrative gesture of war is apparently not unlike that of the horse race.
The process of these drawings was subtractive, many beginning as a coat of black oil bar. The slow drying time of oil bar and linseed oil allowed me the time to carve the horses’ bodies out the blackness. Portions of the drawing were reworked over and over again, conveying motion/time lapse through the multiplicity of elements, such as the doubling of the jockey’s hand in different positions.
There is a dichotomy in horse racing which at once evokes both nobility and grit which I found to exist even at the scale of the horse’s eye, loaded with both the noble courage and animalistic fear. And in the relationship of the fear in horse’s eye to the Jockey’s eye of focused determination. “
As time passed, though, Lauren’s identity was lost to Blackburn Architects. We could make out most of her signature in the lower right hand of the paintings, but was it Lauren Ziker, Zucker, Luker? What had become of the artist who made the art we live with every day? Was she still an artist? A practicing architect? We didn’t know. Finally, John was inspired to track Lauren down through a connection to a colleague who knew her and had kept in touch. And voila! Lauren is indeed still an artist, and an architect, and she was so excited we had tracked her down.
“I have such great memories of Blackburn Architects and of John. I remember being equally disappointed that the timing didn’t work out as the job would have merged my two greatest passions as a life-long horse lover / equestrian and architecture. I am still working in architecture and still enjoy painting and drawing.”