The art and life of Ian Locke Nielsen

From wild rides to quiet strokes.

A man who stitched horses by moonlight, raised a family of four, and rode out storms both literal and metaphorical—now turns his hand to capturing the stillness between the chaos.

Black and white photograph of a woman with dark hair styled in waves, wearing a dark dress with a light collar and a necklace, sitting with two young boys with light-colored hair, one in a checkered shirt and the other in a floral blouse, against a plain background.

Artist Biography

Ian Locke Nielsen has never been a man to follow a straight path. A highly respected horse vet by trade, a man of the land, and now a painter of rare emotional resonance, his life defies ordinary arcs. From the dusty plains of rural Australia to the quiet intimacy of the easel, his journey is one of grit, grace, and quiet reinvention.

For decades, Ian built a reputation as one of Canberra and Goulburn's most trusted equine veterinarians—the kind of man who could stitch a foal back together in the dark with nothing but instinct, experience, and a head torch. A problem-solver. A pragmatist. A lover. A man with hands calloused by work and a mind sharp with curiosity. And somehow, alongside all this, he managed to be a loving husband and a father of four—a feat more extraordinary than most.

His memoir, Still Here: A Wild Ride to Survival, chronicles a life that has not been easy—a life punctuated by physical and emotional challenges that would have broken lesser men. But Ian does not break. He observes. He learns. He adapts. And now, he paints.

Painting, for Ian, is not an escape but a continuation. It is another kind of tending. His landscapes carry the weight of memory, muscle, and movement. They are stories told in brushstrokes—of mist rolling across paddocks, of horses at rest and in motion, of the quiet dignity of the working life. There is a humility to his work, but also pride. The pride of a man who has seen a lot and still chooses beauty.

His subjects are often animals, trees, and places that have endured—things that are still here, as he is. His style is unpretentious and grounded, yet unafraid to reach for the lyrical.

Like the man himself, his paintings are both weathered and alive. Ian does not just paint what he sees. He paints what he has lived.

And what a life it is.

by Elsie Sauer

—- Ian’s daughter & biggest fan —-

A man in a gray sweater standing on a grassy field with children playing in the background.
An elderly man in a blue suit and colorful tie stands with a serious expression, and an elderly woman with glasses, pearl necklace, and black blouse stands beside him with a solemn look, outdoors with green trees in the background.
Group of six people dressed in formal attire standing together indoors, smiling for a photo.