ENGLISH TEXTS
IN THE EYE OF
VICTOR GINGEM- BRE
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Victor began sculpting marble at a very young age of 8, and continued his training through the art of modeling. His fascination with horses finds its roots in mythology and in the paintings of Géricault, which he used to recreate, but also in the raw energy the animal exudes, a reflection of his own go-getter nature. He is drawn to the imprint horses leave in history, as well as their elegance and power in motion. Marble is his first love; but the legs of horses are so fine and delicate for this material, while the animal itself is so large and majestic, that he turned to steel. One of his greatest creations is Cynisca, a monumental 3-meter sculpture that explores the horse and Helen of Troy. This piece will be delivered in a few weeks to an equestrian center in Rome. The particularly large size of his sculptures is a technical feat, as it requires working with weight to create a structure strong enough to withstand the material and external elements, while maintaining the ideal proportions of elegance and harmony to convey lightness and beauty of movement. Like a race, each piece is a challenge. They occupy space with a presence that responds to a deep void, both physical and temporal. The horse is a mirror of the soul, just as sculpture itself is. Here, Ulysses is made of aluminum or steel and stands from 1 meter to 3.20 meters at the withers depending on the model. It references the travels of Ulysses across his various islands, represented at the center by abstract forms that intensify the dynamism of the thoroughbred.
EDITO
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Top-level athlete Seeing a hero fall is always painful and striking. The heavy fall of Nicolas Gauffenic over the obstacles at Auteuil sent shockwaves through the racing world— both for the man and friend he is, and for the professional jump jockey he represents. Safety work on obstacles, for both horses and jockeys, has been underway for years, yet accidents remain chillingly distressing, especially when they are serious. Is the inherent danger of the profession— shared with many other high-speed or combat sports— part of what fuels these athletes’ adrenaline, and a source of emotion for their spectators? This opens up a debate on the recognition of the jockey as a high-performance athlete— how could one deny such a status to men and women who launch themselves on horseback at over 60 km / h, in the heart of a tightly packed field, to face the final straight or soar over obstacles at full speed,“ followed by an ambulance,” as highlighted in the introduction to the series Race for the Crown? This recognition is not just about a title— it implies better psychological and physical support for the athlete, better risk management within the profession, and greater recognition overall. The debate also raises a second question regarding the equine athlete, echoing our May cover story. Alternative medicine is becoming increasingly integrated into human healthcare— whether praised or debated, it is experiencing a true boom in a rapidly changing society. Moreover, it is finding a vital role in sports protocols, both amateur and professional. But what about the equine athlete, also a high-level competitor at the heart of horse racing? Although the veterinary council has recognized three forms of alternative medicine, their implementation still seems slow
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