Edges - Runaway Horses

The depiction of animals in art has ancient origins, even appearing in primitive cave paintings. For religious reasons, various types of animals appear in the works of various ancient civilizations. It was especially in the Middle Ages, within the International Gothic style, that animal depictions became widespread as true life portraits, both within works of art and in notebooks of drawings and sketches. The presence of animals as subjects in art remained constant until the contemporary era. In this painting, Bordi focuses his research on the figure of the horse. A noble animal, a symbol of beauty and harmony, the horse has repeatedly been a prominent subject in the history of art. Since the fourteenth century, its presence has always been obligatory in battle scenes or equestrian monuments, and for painters, representing it with anatomical precision and naturalistic rendering has always been a challenge.

As we can see in this work, Bordi's style is essentially figurative. His language, therefore, is based on reality, yet the painter always seeks to find his own poetry and allegorical system. The scene of the fleeing horses is sublimated by the artist's compositional approach, which shifts everything onto a symbolic plane. The landscape in which the scene is set seems to belong to another dimension. Everything is immersed in a timeless atmosphere, frozen by an unreal light with gray or bluish reflections. The space expands into a desolate land where only a few subjects move. Even from a formal perspective, Bordi implements his transfiguration of reality into symbolism: his pictorial approach tends to subtly synthesize the subjects, making them iconic. They thus become symbolic presences that move in a surreal and timeless space.

From an analysis of this work, we can conclude that Bordi is essentially a Symbolist artist, precisely because of his allusions to underlying meanings. Bordi's elaboration of subjects can be traced back to the artistic language of late-nineteenth-century painters such as Moreau, Bocklin, and Puvis des Chavannes, who, while using a substantially figurative language, developed intellectually complex iconographies, full of symbolic and allegorical references.

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