Nichola Eddery talks about the field of sporting art

One of the most compelling pieces in the series is The Illustrious Blue and Orange Silks, which presents the jockey Colm O’Donoghue in the racehorse owner Michael Tabor’s distinctive colours, which have seen innumerable victories. Inspired by the mysterious allure of Parthenon sculptures at the British Museum, particularly the Elgin Marbles, the artist suspends the jockey in a crouched riding position without a fully rendered horse beneath him, departing from the traditional sporting art’s approach of delivering a more abstract perspective of the subject’s enduring success no matter which horse he had throughout his career.

Beyond the turf, the exhibition also included a striking series of dog portraits, specifically sighthounds. Having grown up immersed in the country’s hunting culture, Eddery was always drawn to these animals. For her, what weaves them together with the racehorses is their grace in athleticism and statuesque quality.

This series draws inspiration from another historical sporting artist, Sir Edwin Landseer, who captured dogs so beautifully. Eddery’s piece, Noble Hunter, portrays a whippet set against a section of the 13th century V&A Devonshire Hunting Tapestry. Through Landseer’s composition, Eddery comments on the historical depiction of the special dogs as loyal companions for royalty and nobility, providing a magnificent backdrop for a modern, elegant sighthound. Another painting, The Study of Eos, is a transcription of Landseer’s famous painting of Prince Albert’s favourite greyhound.