Susan Sommer-Luarca: American Pharoah’s Official Artist

Susan Sommer-Luarca paint as American Pharoah came down the stretch in the Belmont Stakes. (Photos courtesy of Susan Sommer-Luarca)
The road was long for Susan Sommer-Luarca and there were many stops along the way. But on Saturday, June 6, 2015, she was right where she was supposed to be, doing what she was born to do.
Sommer-Luarca had one of the best views in the house at Belmont Park as American Pharoah turned for home and powered through the stretch to capture horse racing’s first Triple Crown in 37 years. Not only did Sommer-Luarca witness history, she made history of her own - becoming the first ever artist to complete LIVE paintings (literally painting trackside, out in the elements) at all three legs of the Triple Crown. She is also the only artist to paint LIVE and capture a Triple Crown.
As America’s Best Racing’s Dan Tordjman learned in an interview with the official artist for American Pharoah and jockey Victor Espinoza (among other distinctions), Sommer-Luarca’s passion for both art and racing goes back decades to her childhood. Now, all these years later, her work will forever be linked to one of the most historic runs in racing history.
1. Where are you from?
I was born on a dairy farm in Arno, Mo., a town with a population of three.  I grew up on a horse farm near Springfield, Mo., in Billings.
2. At what age did you discover art?
As long as I remember, I would gaze at the beautiful paintings by my mother and her ancestors that hung on the walls of our house. Inspired by those, I would constantly draw the horses on the farm.
THE DREAM TEAM

3. What is it about painting, specifically, that made you decide you wanted to make a career out of it?
I went to college on scholarship for journalism and creative writing. I found myself spending most of my study time drifting to the sketch pad and paints. I would create a piece of art and walk around campus showing it to instructors and students to get their reaction and feedback. I was even asked by one of the art professors if he could use my drawings in his classes.
I later had an internship with Disney World in Orlando for my communications minor, and I was showing my art to all who would take a look. I was offered a job in animation at Disney, and I respectfully turned it down. Following the internship, I moved to Long Island, N.Y. where I was commissioned by a business owner, and my drawings were displayed in his 5-star restaurant in West Hampton. I received many commissions, including horses of the prestigious Hampton Classic.
Opportunity found me moving west and residing in Jackson, Wyo., in the early 90's. It is there that I met a man who commissioned me to do a portrait of his relative Indian chief. He took his beloved portrait to renowned Buffalo Trail Gallery in Jackson Hole. The gallery contacted me and asked me to paint ski art LIVE in the gallery on the busy weekends. I was a bit nervous, but from the very first time I was surrounded by a crowd of awe-inspired viewers, I was hooked. I never looked back. I was all artist from then on.
4. Tell us about your progression and what lead to you becoming a professional painter.
In the early part of my career, I was taking any and every opportunity, no matter how small or uninteresting, to pay the bills and get my art out there. I never gave anything away, never displayed anything for free, always demanded a price and gradually earned a lot of respect, becoming the most sought after artist where I lived. I would get bigger and better commissions over the years.
Then, in 2004 I met my husband, and we opened my first gallery in downtown Springfield. At the time, I was also traveling for Bass Pro Shops during their nationwide expansion. I then began my own habitat foundation painting giant murals for animal habitat awareness. I caught the eye of the U.S. Olympic Committee via an associated press article of my "Gateway to the Keys" mural for the State of Florida. They asked me to submit my body of work for review, and I was selected as Official Artist of the U.S. Olympic Team, Beijing and Vancouver.
By 2007 I was invited to paint a tribute to Barbaro LIVE in the paddock for the Kentucky Derby, and have painted for the Triple Crown races, Breeders' Cup and Saratoga ever since. I became the first and only official Triple Crown artist in 2008 as well as the official artist of the Preakness Stakes. Since then I have dreamed of being the first and only painter to capture the next Triple Crown Winner LIVE during the race, and it finally came true with Victor Espinoza and American Pharoah.
THE TRIPLE CROWN PAINTING

5. You just touched on it but tell us more about your transition into horse art? Have horses always been an interest?
Horses are the reason for my art. My family was in the horse business and we had many broodmares, stood stallions, and horses on the road showing. I’ve competed since the age of five and eventually excelled in reining. I was tutored to break horses beginning at age 13, and as a teenager worked for my father starting 2-year-olds. If I wasn't out riding or working with the young colts, I was inside drawing them and studying conformation, muscle and bone charts that my father gave to me after observing my great interest. Art was a way for me to create hypothetical horses on paper crossing certain bloodlines. It was fun for me to compare the sketches to the actual progeny, and to this day I am very involved and excited about studying the blood behind the best.
6. How did you end up connecting with Team American Pharoah and eventually becoming the official artist of American Pharoah and jockey Victor Espinoza?
I have worked with Victor Espinoza since California Chrome won the Kentucky Derby. I met the Zayats in person at the Preakness Stakes this year when they came to visit me where I was completing paintings of American Pharoah. As official artist of the Preakness Stakes, I am commissioned each year to paint the winner of the Kentucky Derby at the finish line in anticipation of a Triple Crown hope. Pimlico's collection of my commissioned Preakness paintings is displayed in the new Sports Palace at Pimlico.
TO EGYPT AND BACK FOR THE TRIPLE CROWN

7. Tell us about what it was like painting at each of the Triple Crown races: Kentucky Derby, Preakness Stakes and Belmont Stakes.
2007 was the first time I painted LIVE in the paddock at the Kentucky Derby.  I found myself holding back tears at times thinking how proud my mother and father would have been. It meant the world to me and is an incredible honor. The energy at the Kentucky Derby is something I hope everyone can experience at least once in their lives. The history and the provenance of that iconic day is unmatched by any other sporting event.
The Preakness Stakes is thrilling because of the chance that we may have a Triple Crown hope by the end of the day. I enjoy meeting the connections of the horses where I am positioned at the rail of the finish line, and hearing all of them speak proudly about their horses all day long. The horses zoom by me race after race, and as the big race gets closer the energy gets intense and competing connections swirl around in excitement.
There is nothing like being at the Belmont Stakes when there is a Triple Crown on the line. I have painted for the Super Bowl, and I think the energy is very comparable, only at the Belmont everyone seems to be for the same team. Suddenly, there is one horse that most everyone is rooting for. The paintings I complete on that day match the hope in the air, and over the past few weeks my intense focus on that horse and jockey through my art has reached a level that is the greatest feeling I can experience in my work.
8. There's an incredible photo of you putting the final brush strokes on American Pharoah's Belmont Stakes/Triple Crown painting, as American Pharoah was turning for home in the Belmont. First off, how cool is that photo when you look at it and what did it feel like to actually be there, doing that, in that moment?
Surreal. I remember my heart beating out of my chest, and the screams of the crowd going right through me. Right after that moment I turned and grabbed the rail, and just feet in front of me American Pharoah and Victor Espinoza gained ground as they flew by and into history. I specifically remember the beauty of the moment, the sunlight over their backs, the pounding of hooves and swooshing of dirt as they seemingly glided over the track. You could hear "They're gonna do it! They're gonna do it!" Tears streamed, strangers hugged, cheering was deafening. It was for nearly an hour afterward that fans lined up to get their photo taken with me and the Triple Crown paintings. I remember my cheeks hurting from all the smiling and laughing. It was so great.
9. Which one of the paintings is your favorite in the series you've created and why?
I truly cannot pick a favorite. They all have special meaning and provenance, being completed at the Triple Crown races in a matter of weeks. The portrait of American Pharoah and Victor Espinoza that Victor and I unveiled in New York City on June 3 truly captures the personality and soul of the horse and jockey. The Preakness paintings place the team in Egypt playing on the name Pharoah and heritage of the owners. The Triple Crown painting is the one and only painting that got to see the light of a Triple Crown, the first time I ever put the words “Triple Crown" in a triple crown hope's painting, and the only painting in history completed at a Triple Crown race. It was the opening shot on NBC just before the race went off, and afterward I found my phone jammed with texts and calls of people that saw me painting on TV.
VICTOR ESPINOZA AND SOMMER-LUARCA UNVEILING THEIR PAINTING IN NEW YORK

10. What are some of the unique characteristics of American Pharoah, from an artist’s perspective, that make painting him different from other horses, people or place you've painted before?
To me, all horses are as unique as people. American Pharoah has the longest stride ever, deep massive shoulder, muscles popping everywhere and big calm intelligent eyes. He is not a flashy horse with distinctive markings, instead his look is big, serious and impressive. His beauty exudes in his courage and sweet disposition.
11. Last year, you painted California Chrome. Which horse was more challenging, exciting or interesting to paint?
They were equally challenging in their own way, equally interesting, and equally exciting until American Pharoah won the Triple Crown. Nothing has compared to that.
12. What will you remember most about this whole Triple Crown run and your involvement with it?
It was nine years of anticipation as the "Triple Crown artist" that finally became a reality. It has all been worth it, and the fact is, it will never be this special again unless it is another 37-year wait … or I have my own contender.
13. You've been around horse racing for a little while now. What are some of your observations? What can horse racing do to continue to attract people in the arts and other professional spheres, specifically as it relates to growing the sport and getting it in front of as many people as possible?
Horse racing is a fair sport. No politics can help you win. You either have a great horse, great jockey and a lot of luck or you don't, simple as that. I think great horses like American Pharoah attract new people and inspire people of all walks of life. I have my own yearling colt going into training this fall, and the experiences of breeding and raising my first racehorse has truly brought me to a whole new level of respect and awe for the sport. Healthy, happy horses, fairness, and the opportunity and possibility for even the smallest of farms to have all the stars align for them in the future, makes horse racing the greatest sport on earth. Great achievements in racing give hope to younger generations who get excited and follow the dream. Thank you horse racing for making my dreams come true.
If anyone would like to learn more about Susan Sommer-Luarca or her art, you can visit SSLWORLDWIDE.COM.