Exhibition: 7th June - 28th JuneMon-Sat 12-6pm Private view: Friday 6th June 6:00pm The Horse Hospital presents Sacred Pastures, a three person exhibition that for the first time brings together contemporary religious/apocalyptic painter Norbert Kox, multi-passioned visionary artist Cathy Ward and transpersonal self-taught painter Eric Wright. Sacred Pastures highlights each artists' dedication to revelatory and pietistic concepts within their work. While producing a highly distinctive range of imagery drawn from diverse sources of inspiration, the artists share a canon of practice that emphasizes the work as a means by which inner discoveries can be made manifest. Each has staked out a territory within the realm created by the intersection of intuition and the objective world. The exhibition highlights the diverse manner in which a bold romantic spirit is returning to contemporary artistic practice. Here are artists that eschew irony in favour of conviction and do not shrink from self-portrayal. Together presenting the antithesis to nihilistic self-referenced output while avoiding sentimentality. Norbert Kox presents a challenge to accepted christian orthodoxy of any sort while at once presenting powerful prophetic biblical revelations. His work takes forms ranging from symbolic metaphors and visual parables to revelatory land and seascapes. Informed by his own traditional bible study as well as computerised deciphering of coded messages within the same book, the work presents Kox's warnings of christian falsehoods and counterfeits, discoveries of spiritual promise and visions of the coming end-time. Cathy Ward obsessively explores a heady topography of remembrance, sexuality and mythology which is wound together and presented with the weight of personal experience and the depth of folk tradition. Her incredibly detailed drawings move effortlessly between an abstracted dream world and a representational landscape that is more otherworldly still. Her images are more an epitaph to primal memories than a reminiscence of personal or collective histories. It is from this vein that the work inhabits a spiritual dimension that erupts from the twisted lines in a Dionysian frenzy. Eric Wright draws from a singular viewpoint to reveal a world laden with amorphous import. His archaic treatment of his chosen subjects be it portraits or landscapes exhibit in the labour of their creation a demiurgic inspiration. He uses realism and narrative devices to open a raw seam of transpersonal foreboding firmly rooted in his personal and cryptic lore. Exhibiting overt allusions, Wright's work goes beyond the banality of rock lyricists and other cod-romantics. The absence of any provenance for all of weighty intimation propels the work as it takes it's place in the firmament of our consciousness.