| High Horse stages a confrontation between nobility and moral aggression. At its center, a butcher-style diagram of a horse—an animal culturally revered for its strength, loyalty, and grace—is segmented into labeled zones: “Neck,” “Shoulder,” “Loin,” “Rump.” But this is no guide to consumption. It’s a visual metaphor for ideological division, rendered on a creature rarely associated with slaughter.
Surrounding the horse are astrological symbols—Leo, Virgo, Scorpio, and others—suggesting cosmic determinism or spiritual branding. These glyphs float like constellations, framing the horse as both mythic and diagnostic.
In the background, members of the Westboro Baptist Church hold protest signs with messages like “GOD HATES YOU” and “YOU’RE GOING TO HELL”—language that is aggressive, offensive, and performatively moralizing. Their presence turns the scarf into a tableau of judgment, where belief becomes spectacle and condemnation becomes choreography.
Printed on polychiffon, the work gains a ghostly softness. The fabric’s translucence allows light to pass through ideology, exposing its layers and contradictions.
High Horse becomes a wearable critique—of moral arrogance, symbolic segmentation, and the theater of righteousness.
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