In 2022, McConnell turned his camera towards that most unknowable of subjects, the horse, and has produced a provocative collection of photographs, which somehow – appear to make the horse seemeven moreremarkable and mysterious then before.
McConnell travelled to Iceland, a country where the horse is as symbolic to the national landscape as waterfalls or glaciers. Photographs of the horses were taken both outdoors and indoor and, with vivid flashes of colour, McConnell manages to convey the disparate characters of these animals – or at least as close as we can get. The work is wild, expressive, restful, and powerful, perfectly reflecting the animals’ variety. It is clear that McConnell was led by the horses in how he depicted them, rather than the other way round.
The story unfolds without text, the large format colour saturated images drawing you into the intimate world of these horses, while never feeling invasive, always sensitive.
Other themes come to mind. As Iceland appears to be potentially one of the safest places to live as conflicts explode globally, its culture, steeped in mysticism, seems ever more enticing. The uncanny beauty of these horses in this particular setting seem to offer solace in unnerving times.