Sculptor says his Las Colinas mustangs ‘created such an impact in the area and people love it’

Published in The Dallas Morning News on Sept. 24, 2015

Las Colinas is celebrating the 30th anniversary of its mustang statue one year late because of last year’s road construction. But organizers had several events lined up this week, including an opportunity to meet the sculptor, Robert Glen.

In case you missed him, neighborsgo conducted a brief question-and-answer with him.

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Q: How does it feel that the sculptures have stood the test of time?

A: The bad thing about that is that I’m 30 years older. If I’m in the United States, one way or another, we take the trouble to come out here and touch the horses and check it out. What becomes more amazing all the time is that it has created such an impact in the area and people love it. Everywhere I look, there are emblems of the horses in the area. As far back as when Ben Carpenter was still around and I would stay with him when I was in town, he and I used to come down here every night just to look at the horses. He just wanted to see them like I did.

Q: Now from my understanding, you’re from Africa?

A: I was born in Nairobi, Kenya, and lived there most of my life so far. For the last 25 years, I’ve been living in [a] Tanzania National Park, where I do my sculpture animals from life and Sue [Stolberger, his partner] paints from life. Even the horses.

These horses were actually the original mustangs in America. That breed, from the south of Spain in a place called Jerez, was brought here by the Spanish conquistadors. So I went there to study those particular horses, the Andalucía horses. Every horse is born a different color but they end up white, which is interesting. When they brought the original horses, they were stallions for fighting and conquering.

Q: How long were you in Spain?

A: For three weeks. It was fantastic. The family I stayed with has continued the breeding line of those horses that started about 2,000 years ago.

Q: How important was that trip for the outcome of the statues?

A: I think everything. It helped me know what this particular breed of horse is like and helped me depict it in very close representation. They galloped the horses around for me and showed me their behavior. So I had a pretty intensive study for that time.

From day one of the project, it took seven years to make these horses. And from day one, we traveled with a film team who filmed the whole project all the way through in different stages, and a lot of still photographs. They were there in England during the bronzing at the foundry too. [The film can be seen at]

I went to school in Kenya. I had other things to do in my life than school. I started getting involved with birds at the museum when I was 12. My parents then realized I was a little bit strange because I didn’t want to get involved with school. So I was introduced to the ornithologist, who is probably more responsible for my natural history life than anybody.

Eventually, I went to Denver, Colo., when I was 16. I was accepted by taxidermist and animal sculptor Coleman Jonas. I thought I knew everything and he very quickly straightened me out. That three years was everything about where I am today, because of what he said to me and what he taught me about how to look and what to do.

Local painter creates intrigue, beauty in portrait

Published in The Denton Record-Chronicle on Feb. 14, 2016

Behind the bar at 940’s Kitchen and Cocktails is an oil painting.

The painting depicts a woman with bright red lips set against a smoky background. It’s flanked by colorful bottles of expensive liquors.

The bar’s centerpiece, which shows three perspectives of the unknown woman’s face, is like a memory of another time — a throwback to the great tradition of paintings of beautiful women behind bar counters.

The portrait feels like a modern Mona Lisa. Like Leonardo da Vinci’s famous portrait, the subject of Daniel McCullagh’s Sight Unseen is shrouded in mystery. Nobody knows the identity of the model or what’s behind the curiosity of her expression — though she looks a little like Michelle Dockery, Lady Mary of Downton Abbey.

Bartender Tyler Jenkins, 26, said much of his clientele asks about the painting. The bar recently held a gallery event featuring McCullagh to give the artist a chance to answer their questions.

“It’s very striking, and the first thing that caught my eye when I came in here to apply,” Jenkins said. “She follows you around the room in a dizzying way.”

Sight Unseen was meant to capture the details that are often lost in motion.

“It’s like when you see a girl out of the corner of your eye and turn to look at her,” he said. “You pick up little pieces of information. Your brain, influenced by your emotions, creates the rest of the image.”

McCullagh said the idea to have the subject turn came to him just after Christmas 2014 while sitting at Paschall Bar talking about art with friends. In the past, he had painted images showing the subject as if it were dripping down and stretching across the canvas.

“Spiraling would give more dimension and depth to her face, emotionally and visually,” he said. “My friends encouraged me to do it.”

McCullagh did not use a model for the painting, he said.

“People tell me that it looks like their friend or family member,” he said. “It could be a real person, but even I’m not sure if it is.”

Working at Jupiter House, McCullagh sees many people every day. Occasionally, he said, someone will come in and look familiar — like a subject of a painting long since finished.

“It will be funny if this woman walks in to get coffee someday and it turns out she’s real,” he said. “Or maybe the face is derived from different people I’ve seen.”

Art critic Bill Marvel, 76, attended the event as a friend of McCullagh’s mother. Marvel said the woman looks curious as she faces forward. Her eyebrows are raised. Marvel argued that the subject is turning away from the viewer; other viewers think she’s turning toward the viewer.

“The painting really left it open to which direction she’s turning,” Marvel said. “If she is turning away, her eyebrows lower, indicating that she’s shy or uninterested. If she’s turning towards us, it indicates that we sparked her interest.”

McCullagh won’t say which way the woman is turning. But, he gave this clue: He did not paint the faces individually; he painted them as if they were one.

The artist would start the brush on the in-focus face and immediately paint the same feature on the next faces, without pulling the brush from the canvas.

“Blurring from one face immediately into the other, instead of painting three distinct faces and blurring them together, makes the movement look a little more organic,” he said.

“It’s the kind of painting that demands you to look at it,” Marvel said. “It does everything a painting like this is supposed to do on a sophisticated level. This is sophisticated bar with sophisticated drinks, and it deserves a sophisticated painting.”