Maria Talasz has always been a horsewoman — not just in her love of horses, but in the way she observes, listens, and moves through the world. Horses shaped her early life, her sense of timing, and her understanding of quiet communication.
When Maria moved from the Netherlands to Alaska, the realities of her new landscape meant she could no longer keep horses of her own; a loss that was practical, but painful. In their absence, she began shaping horses from wood and leather as a way to stay close to the glorious creatures who had defined so much of her life.
What started as longing became a new way of seeing: translating feel, empathy, and movement into sculptural form. Her experience as a horsewoman is present in every curve and gesture she creates — the lift of a shoulder, the softness of a poll, the tension and release of an articulated joint. The sculptures have become a bridge between past and present, allowing Maria to carry horses with her in a new medium while continuing her lifelong conversation with them.
A Life With Horses Through
Sculptural Form
As an artist, Maria is drawn to the intelligence of form and the emotional resonance inherent in natural materials. Her sculptures emerge from a close study of equine gesture — the tilt of a head, the suggestion of breath, the way structure can hold both strength and vulnerability. Over a decade ago, Maria's horse sculptures began with a wood; Palomino was the start. Over the years, the sculptural design expanded beyond wood to include leather with layered textures. Maria builds each piece slowly and deliberately, allowing the materials themselves to guide the evolving character of the horse within them.
Self-taught across a wide range of media, Maria has developed a body of work that reflects her discipline and depth. Maria's equine-inspired sculptures have been accepted and shown in juried exhibitions at the American Academy of Equine Art, affirming her place within a respected lineage of contemporary equine artists. Many of her wooden and painted wall pieces have been created on commission and are held in private collections.
Maria continues to expand her practice through collaborations, exhibitions, and engagements that honor craftsmanship, curiosity, and the enduring presence of horses in human culture. Her affiliations with creative communities and equine organizations deepen her commitment to work that respects tradition while welcoming evolution in both method and meaning. Each sculpture becomes an exploration of memory, movement, and material — offering viewers a tactile, well understood sense of horses that feels timeless and
Maria with her horse, Alaska
Palomino: The first sculpture
in wood
