This series explores the juxtaposition of nature’s wildest creatures with the engineered precision and speed of Formula 1 racing. As part of Allison Harn’s ongoing exploration of the Formula 1 world, she has chosen to depict one of the fastest predators or animals native to each Grand Prix country. Each painting not only captures the unique power and grace of these animals but also contrasts them with the intricate layouts of the Formula 1 tracks themselves.
The wild animals selected for this series represent raw, untamed speed, a primal force that mirrors the high-stakes intensity of the racing world. From the agile falcons of the Middle East to the swift European hares of the British countryside, these animals embody the unyielding drive to move swiftly and decisively through their environments. Their speed and adaptability are celebrated and preserved through Harn’s artwork. Ironically, these natural predators—whose very survival depends on speed—are paired with their manufactured counterparts: the precision-driven machines of Formula 1 racing, where speed is a product of human engineering rather than nature's design.
Meanwhile, the Formula 1 Grand Prix tracks are symbols of human innovation, where speed is engineered, honed, and executed with precise perfection. By pairing these animals with the tracks, Harn aims to highlight the connection between the animal kingdom’s natural speed and the calculated velocity of man-made machines. The fluidity of the creatures is contrasted with the sharp, structured curves and lines of the tracks, providing a visual commentary on the interplay of nature and technology. The irony lies in the fact that while the animals evolved over millennia to dominate through speed, the machines—products of human ingenuity—now race faster than these natural-born predators ever could.
This series invites the viewer to reflect on the beauty and power of both the natural world and the artificial world of motorsports, drawing parallels between their shared pursuit of speed, agility, and dominance. It is a celebration of movement in its purest form—whether it is the predator racing through the wild or the driver pushing the limits of physics on the track.
For the British Grand Prix, I chose to depict England’s swiftest native animal, the European hare (or brown hare), racing through the track with unmatched speed and agility, embodying the essence of the high-speed action of Formula 1.
In celebration of the Hungarian Grand Prix, I painted the formidable Eurasian lynx, one of Hungary’s most skilled predators. Known for having no natural enemies and standing as one of Europe’s largest predators, the lynx exudes both power and precision, much like the drivers on the track.
For the Belgian Grand Prix, I captured the European fallow deer, one of the fastest creatures in Belgium. With the ability to reach speeds of up to 48 km/h in short bursts, the lean and agile fallow deer parallels the athleticism and speed of F1 drivers, making for a fitting tribute to the race.
(This is an ongoing series)
