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EquuStyle: When did you first become interested in photographing wild horses? What sparked that passion for you? 


Sandy Sharkey: In my early twenties, I was on a trail ride in Alberta’s Rocky Mountains near Banff.  One afternoon, I was lying on my back in an alpine meadow, my trail horse contentedly munching grass beside me.  Suddenly, everything shook- and I jumped up, convinced that I was experiencing an earthquake.  It wasn’t an earthquake.  It was a herd of wild horses, galloping past me on a rocky ridge.  It was over as quickly as it began- and the wild horses disappeared into a forest.  But it was one of the most beautiful things I’d ever seen. 


Wild Alberta Mountain Horses is the title of a photograph by wild horse photographer and advocate Sandy Sharkey as featured in the Fall 2025 issue of EquuStyle Magazine at equustyle.com
Wild mountain horses traverse the rugged landscape of the Alberta Rocky Mountains, showcasing their strength and resilience amidst the natural beauty of Canada.
At that time, I had no idea that wild horses existed.  My life was forever changed.  I needed to experience wild horses again and again, to capture their essence with my camera, and to share their stories of free spirited resilience.

 EquuStyle: What personal connection do you feel to the wild horses you photograph, and how does this influence your work? 


Sandy Sharkey: I think the most ‘free spirited’ time of our lives, is when we are kids-  before the wide ranging demands of society take root.  Over time, that free spirit of youth is diminished under the weight of responsibility.  When I’m with wild horses, I feel like that 8 year old kid again.  Wild horses are symbolic of freedom, embodying an unabashed free spirit that exists in all of us. 


"Utah Wild Mare and Stallion" is the title of a photograph by wild horse photographer and advocate Sandy Sharkey as featured in the Fall 2025 issue of EquuStyle Magazine at equustyle.com
A wild mare and stallion share a tender moment on the vast plains of Utah, embodying the spirit of freedom and companionship.

In many ways, connecting with wild horses can reconnect the adventurous soul that we’ve buried through adulthood.  Someone once told me, ‘it’s not how you feel about someone, it’s how you feel about yourself when you’re with that person’.  The same applies to wild horses.  When I’m with these magnificent animals, the awakening of my heart and soul influences my photographic work in a visceral way. 


If one of my images captures the free spirit of a wild horse, creating a beautiful connection between human and horse-  this is much more important to me than a technically perfect photo.  


 EquuStyle: Could you share a memorable encounter with a wild horse that deeply impacted you? 


Sandy Sharkey: There are so many to choose from.  But one encounter stands out. In the spring of 2018, I was photographing wild horses in Utah’s Onaqui range.  One morning, I saw this huge cloud of dust rolling across the desert floor like a scene from ‘Wile E. Coyote and the Roadrunner’.  The trail of dust was created by one scrappy, smallish wild buckskin stallion known as ‘Buck’.  He was covered in battle scars and several wounds were fresh, but nothing stopped him.  Buck was determined to steal the mares from every stallion in sight. 


"Battle Scarred Onaqui Stallion known as Buck" is the title of a photograph by wild horse photographer and advocate Sandy Sharkey as featured in the Fall 2025 issue of EquuStyle Magazine at equustyle.com
Majestic and resilient, Buck the battle-scarred Onaqui stallion strides across the rugged landscape, embodying the untamed spirit of the wild.

He wasn’t successful that day, and I’m not sure that he was ever successful, but the huge spirit from this small package embodied persistence, true grit, and wild spirit; everything we love about wild horses.  Buck is my horse hero.


 EquuStyle: What initially drew you into wild horse advocacy? 


Sandy Sharkey: When I first started photographing wild horses, it wasn’t long before I began to learn about the challenges they face.  I couldn’t continue to share photos of beautiful wild horses without speaking out and raising awareness about the atrocities of wild horse roundups and the slaughter pipeline. 


"Utah Fiery Boy"  is the title of a photograph by wild horse photographer and advocate Sandy Sharkey as featured in the Fall 2025 issue of EquuStyle Magazine at equustyle.com
"Utah Fiery Boy" is the title of a wild and free, Onaqui stallion rearing majestically against a backdrop of the rugged Utah landscape.

Along with photographic storytelling, I began to host wild horse retreats and trips to other wild horse areas in the world.  When we see mankind’s treatment of wild horses, and how it differs depending on geographic location, we can better understand and help shape a future where wild horses are protected and respected. 


In the American west, thousands of mustangs have been rounded up by helicopters and removed by the U.S. government, in deference to the demands of public lands ranchers.  The system is broken and the government is resistant to working for meaningful change. 


There are over 60,000 wild horses languishing in holding facilities.  In contrast, cattle ranchers in northern Portugal are accepting of the ‘Garrano’ wild horses.  In Chilean Patagonia, wild horses known as ‘Baguales’ are also revered, and have become a draw for adventurers.  In Mongolia, Przewalski’s horses were extinct from the wild, but due to a successful captive breeding program, they once again roam the Mongolian steppes. 



The wild horses of Canada’s remote Sable Island are 100 percent protected, living wild and free with zero interference from mankind.   We have much to learn regarding mankind’s complex relationships with wild horses.

 EquuStyle: How do you believe your images help to shift perceptions and garner support for wild horses? 


Sandy Sharkey: My goal on social media is to have my wild horse images pack a one-two punch.  Hopefully someone is emotionally drawn into a photo, whether it’s a wild horse portrait, a wild horse family band or an action shot-  and they stick around long enough to read the text that goes along with it. 


My posts can include hard-hitting calls to action-  or they can be sweet or humorous.  I try to mix it up as much as possible, because different people respond to different things.


 EquuStyle: What are some of the biggest misconceptions about wild horses that you aim to dispel through your advocacy? 


Sandy Sharkey: Wild horses are sentient, intelligent, family oriented animals that have earned the right to exist peacefully on the landscape.  Those who profit from usage of public lands have created a false narrative about wild horses being a strain on the ecosystem.  Nothing could be further from the truth. 


Unfortunately the wild horse has become the scapegoat for rangeland damage caused by human activities, particularly public lands ranching.  My wild horse advocacy is rooted in dispelling the false narrative wrongly promoted by special interest groups.


 EquuStyle: As a speaker, when addressing audiences, what are the key messages you strive to convey about wild horses? 


Sandy Sharkey: It starts with instilling the knowledge that wild horses actually EXIST.  I shouldn’t be surprised that most people don’t know that wild horses live in wild spaces around the world.  I had no idea myself-  until that eye opening encounter in the Alberta wilderness so many years ago. 

As a speaker, I always begin by assuming that I’m introducing the wonder of wild horses to someone for the first time.  Following that, my role is to convey wild horses’ precarious relationships with humans, and how we can work together to elicit positive change. 

 EquuStyle: How do you engage and inspire individuals who may have little prior knowledge or connection to these animals? 


Sandy Sharkey: I try to engage people in a way that they can relate.  Storytelling is immensely important.  For example, to wild horses, family is everything.  When wild horse families are ripped apart by tragic helicopter roundups, the stallions, mares and foals desperately call out to each other after being indiscriminately packed into livestock trailers and separated forever.  We can’t begin to imagine the heartbreak.  But we can certainly relate to our own family relationships, and reflect on the tragedy of being separated from a loved one.  


A photograph of a "Wyoming Wild Horse Family" by wild horse photographer and advocate Sandy Sharkey as featured in the Fall 2025 issue of EquuStyle Magazine at equustyle.com.
"Wyoming Wild Family"

 

EquuStyle: Do you have a story about how your images of wild horses or a speaking engagement directly impacted wild horse conservation or policy?


Sandy Sharkey: In 2023, I was honored to speak at the Wild Horse Conference in Washington DC.  My presentation was titled ‘Storytelling for Change’.  Stories connect us all, and it’s the most powerful way to invoke positive change. 


A photograph of an Alberta Wild Stallion known as 'Maverick' by wild horse photographer and advocate Sandy Sharkey as featured in the Fall 2025 issue of EquuStyle Magazine at equustyle.com.
Alberta Wild Stallion known as 'Maverick'

To help save wild horses, it’s important for people to have an emotional connection.  Strong storytelling can move mountains.  I love grassroots campaigns powered by the human heart.  I created the hashtag ‘#ButImJustOnePersonSaid300MillionPeople’ to encourage people to listen to wild horse stories and feel moved to act.  Every single voice is a megaphone.  

 

EquuStyle: Who are some individuals who have inspired you in your journey as a photographer and advocate? 


Sandy Sharkey: There are far too many to mention, and I would likely miss someone!  Over the years I’ve been fortunate to work with outstanding people who have dedicated their lives to wild horses.  I’ve stood shoulder-to-shoulder on wild horse ranges with advocates that know the herds and the individual horses, from birth to adulthood to death from old age (it’s always a unique gift when a horse lives wild and free for his/her entire life, which speaks volumes about the high odds of being captured long before that day). 


I’m inspired by the photographers, the writers, the organizers of webinars and rallies, the creators of film and music, and everyone who works tirelessly to ensure that wild horses will run free for generations to come.  And to the members of the public who don’t look the other way-  taking the time to make phone calls, write letters and share posts.  In many ways, they are my greatest source of inspiration.   


 EquuStyle: What inspired you to guide photography tours of wild horses on Sable Island? 


Sandy Sharkey: I want the world to know that a place actually exists, where wild horses are 100 percent protected.  Located 180 miles from Halifax Nova Scotia in the Atlantic Ocean, the grassy dunes of Sable Island are home to approximately 500 wild horses.  Here, they are free to form family bands, give birth, watch their foals grow, and share lifelong bonds with each other, with zero interference from mankind.  The horses are managed by mother nature, living an existence in harmony with the sea.  



Being on Sable Island not only feeds our soul, it restores our hope that one day, all wild horses will be as revered and respected as the wild horses that have survived on this crescent-shaped island for over 350 years.  We must never give up hope.


 EquuStyle: For those interested in supporting wild horse protection, what concrete actions would you recommend they take?


Sandy Sharkey: It’s a good idea to follow wild horse organizations that provide excellent background information, along with current news and suggested calls to action. Here are some respected sources:






It’s important to contact your legislators and ask for humane reform regarding the treatment of wild horses.  Elected officials can’t ignore an army of voices. 


And while the fight to save wild horses is in the category of ‘David vs Goliath’, I prefer to look at it this way: WE are not David, WE are Goliath.  Thankfully, those with empathy and compassion greatly outnumber those who profit from public lands and want the wild horses eliminated.  We just need to stay together and raise our voices. 


Remember: #ButI’mJustOnePersonSaid300MillionPeople 


Wild horses in a grassy field, text reads "But I'm just ONE person," "300 MILLION people," "saveourwildhorses.net."
Elected officials can’t ignore an army of voices.








All images Copyright Sandy Sharkey Photography-all rights reserved. Cannot be reproduced for any purpose without permission from Sandy Sharkey and Sandy Sharkey Photography.

 
 

EquuStyle: What initially drew you to the world of equine art & sculpture?


Sandie Henderson: I have always loved cats, horses and art, and my life seems to have been inextricably linked to these three subjects. 


Bronze horse sculpture with one hoof raised, set against a plain white background. The greenish patina highlights its elegant form.
Bronze sculpture titled "Cavallo," showcasing elegant equine form with a patina finish, measuring 51cm in height, 54cm in width, and 27cm in depth.

I was lucky enough to grow up with both cats and horses, and have many happy childhood memories of making life drawings of them. I didn’t come from an artistic family but my father kept me well supplied with drawing materials and I developed useful drawing skills. Back in those early days sculpture was not yet on my radar, but I was always a fairly hands-on practical person who enjoyed making things. These earlier “making” experiences were valuable when years later I turned to sculpture.


After leaving school I worked as a draughtswoman in engineering and architectural drawing offices, before training for a British Horse Society teaching qualification. For over twenty years I enjoyed a career in the horse industry, teaching riding, training, breeding and judging horses. I’ve also been closely involved with feral cat welfare for many years.


EquuStyle:  Was there a specific horse, experience, or image that ignited your passion for sculpting horses? 


Sandie Henderson:  Two tragic horse related events in 1997/98 formed the catalyst for change that catapulted me into the art world and initiated my journey into sculpture.


“Bacchus” was a charming and incredibly handsome young home-bred colt (Thoroughbred x Cleveland Bay). He was full of joyful exuberance and had amazing presence. He broke his neck in a distressing freak accident at liberty in the paddock. Nothing could be done to save him and I was heartbroken.


Two months later my little cat “Kit” was fatally injured by a young pony that was with me for schooling. Kit was an orphan kitten who lost his feral cat mum when he was only a few days old. I hand reared him and he grew into an amazingly happy and healthy young cat. We shared an incredibly close bond and he was my constant companion. I was devastated by his loss, especially so soon after loosing Bacchus, and I found it impossible to continue with my then lifestyle. I felt the need to step back from the horse industry and immerse myself in the healing power of art. 


The idea of making a sculpture for Kit’s grave became important to me and somehow I knew that I could do it. Never having been a particularly self-confident person and with no previous experience of sculpture, this amount of confidence was surprising and out of character. I enrolled on a short part time sculpture course at a local college, and was taught the basic carving skills that enabled me to carve my Kit sculpture in aerated block. The sculpture has now become a treasured memento of Kit.


I found myself incredibly drawn to sculpture and decided to study the subject in more depth, initially by completing a Foundation Course in Art & Design, followed by a Fine Art Degree Course, specialising in sculpture. Art in general proved to be a wonderful therapy, effectively helping me through a difficult time in my life, and in sculpture I felt I had found my calling.


Horses have always played a major role in my life so after graduation in 2002 it seemed only natural to make Equine Sculpture the primary focus of my art practice.  


EquuStyle:  How would you describe your unique artistic style when it comes to sculpting horses?


Sandie Henderson:  My style is essentially contemporary, though its roots are very much grounded in antiquity. Major influences include Ancient Greek, Etruscan and Tang Dynasty Art.


My aim is to capture the inherent characteristics of the horse, particularly its essential power and dynamic energy whilst in motion. I look for an elemental spirit of the wild that connects my horses to the landscape of their environment.

I continue to be inspired by the striking images in my modern day edition of Xenophon’s “The Art of Horsemanship”, the earliest known written work on training the horse. Xenophon was an Ancient Greek military leader, philosopher and historian, sometimes referred to as the father of horsemanship.


The classic 1766 publication “The Anatomy of the Horse” by George Stubbs is also a wonderful source of inspiration and reference.


Significant contemporary influences include Dame Elizabeth Frink and Marino Marini.


EquuStyle:  Can you talk us through your typical creative process, from initial concept to the finished sculpture?


Sandie Henderson:  My creative process starts with the exploration of ideas. I look through a variety of images, typically in books, magazines, photographs and sketch books, until something inspires me. I also make sketches from life. 


Once the basic concept for the sculpture has been decided on, I select at least one image to use as a general guide. I like to allow freedom for the sculpture to develop fairly organically, resulting in a finished sculpture similar to the guide image but not identical. By allowing for a degree of artistic freedom and licence I am more able to highlight aspects of the horses physique and spirit.


Whether I’m working on a Modelled or a Constructed Sculpture, I start with a very simple armature built from mild steel rod or fencing wire. The armature is bent into the required shape to mirror the stance and action of the horse, then built up with chicken wire to roughly define the form.

Some of my sculptures are made entirely of chicken wire, in which case I just carry on building up the wire until I am happy with the form. 


For a modelled sculpture less chicken wire is used around the armature, then clay or plaster is  added to complete the piece.


EquuStyle:  What materials do you prefer to work with and why?


Sandie Henderson:  To create my equine sculptures I work with a wide variety of materials and processes. Modelling is the process I most often employ, but I also enjoy carving, installation and construction. Whatever sculpture media I’m using I try to work in harmony with my materials rather than being overly dogmatic in my approach.


Modelling:

For modelling I mostly use air drying clay, apoxie-sculpt or plaster. All three of these modelling materials allow me to gently sand back into the almost completed dry sculpture to further refine and enhance the piece. This close “hands-on” approach probably draws on past experience of grooming horses, an activity that I find to be one of the best ways to become familiar with the physique of the horse.


My most successful modelled sculptures usually get cast into foundry bronze and are sold through gallery outlets.

Stone sculpture depicting riders and horses in relief, with a horse head sculpture on top. White background, calm and classical feel.
"After Xenophon" features a carved aerated block on slate, depicting dynamic equestrian figures and crowned with a horse head. Dimensions: 56cm(H) x 90cm(W) x 40cm(D).

Carving:

My earliest carvings were in aerated block (sometimes known as expanded cement), a good and inexpensive carving medium that is ideal for the novice sculptor to use while developing carving skills. More recent carvings have been in soapstone which is not dissimilar in hardness to aerated block, making it the perfect natural stone to progress to after aerated block.


Sculpture Installation:

Sculpture installation enables me to effectively address current issues that interest or concern me. Perhaps my most successful sculpture installation and also my personal favourite is “Finding Zen”, a celebratory piece that pays homage to The Horse. Consisting of wire and slate, it responds to man’s recent more “holistic” interactions with the horse, and references the development of horse based therapies such as Equine Experiential Learning and Equine Facilitated Psychotherapy.


Sculpture of a horse made from black wire, displayed on a white slate platform, encircled by stones. The setting is minimalist and serene.
A graceful wire sculpture of a horse stands poised within a circular arrangement of slate stones on an MDF board, embodying the theme "Finding Zen" with its serene and balanced presence.

Occasionally I am inspired to make artwork that is not horse related. The “Threatened Pollinators Installation” addresses current concerns relating to the use of neonicotinoid pesticides and a decrease in the bee population. 


Construction:

My chicken wire sculptures are made using the construction process. Being essentially very pliable and easily bent into shape, chicken wire is well suited to depicting the physique and action of the horse.


It’s a fairly lengthy but effective process involving weaving wires together and ultimately ensuring that no sharp ends are left! Gloves are essential, together with a selection of pliers. A hammer also comes in useful to assist in defining the shape.


EquuStyle:  How do you capture the movement and spirit of the horse in a static sculpture?


Sandie Henderson:  Spending time with horses, be it through observation, sketching, riding or grooming, is an incredibly effective way to become familiar with the physique, behaviour and spirit of the horse. Direct contact with horses will inform the sculpture, and help to animate it.


EquuStyle:  What are the most rewarding aspects of your work?


Sandie Henderson:  Perhaps my greatest reward is simply my enjoyable lifestyle, with its joint focus on horses and art. I consider myself incredibly lucky. 


Through my work I continue to make valued friendships in both the horse world and amongst the artistic community, and coming into contact with so many lovely horses is a wonderful bonus. 


EquuStyle:  What advice would you offer to aspiring equine sculptors?


Sandie Henderson:  Get to know your subject by spending as much time as possible with horses. 


Go out and sketch horses at rest and on the move. Note their action throughout the different paces, walk, trot, canter and gallop. Observe and absorb horse physique and behaviour. Take photos, 


Look at the work of other artists and note the very many different approaches to equine sculpture.


A basic knowledge of horse anatomy is useful. “The Anatomy of the Horse” by George Stubbs is amazingly informative.


Riding horses is a great way to become familiar with the feel of the horse in action. Once acquired, this inherent “feel” will help to animate the sculpture on an almost instinctive level. Consider taking up riding if you’re not already a rider.


Be aware of structural issues that will effect your horse sculpture (e.g. big body on fine legs). Consider the size and shape of your sculpture and use suitable materials to address the structural issues.


Constantly assess how your sculpture is developing three dimensionally. A revolving modelling stand is valuable in this respect.


Try to work with your materials and not against them, allowing them the freedom to express their inherent qualities. With experience this will become easier.


Specialist training is beneficial and lots of useful advice can be found in books or on-line. Consider enrolling on a sculpture course, take advice from experts and look out for suitable workshops.


Appreciate and capitalise on “happy accidents”. They are a gift from the art gods!


When you’re ready, look for opportunities to exhibit your work. It will be hugely rewarding to see your sculpture on display!


EquuStyle:  What role do you think equine art plays in celebrating and preserving the legacy of horses?


Greenish-blue bronze sculpture of a horse's head on a rectangular base, set against a plain white background. No text or patterns visible.
“Trojan War Horse” Bronze (Blue Patina) Size 16cm(H) x 10cm(W) x 9cm(D)

Sandie Henderson:  Through the ages, equine artists have celebrated and preserved the legacy of the horse by visually representing its historical and cultural significance. They have captured its spirit and beauty and documented its impact on our culture and society. 


Equine art has captured the unique characteristics of specific horse breeds, and served to keep alive the memory of breeds now no longer in existence. In a similar way, horse portraits through the ages have recorded the lasting bond between owners and their beloved companions for generations to come.


Contemporary artists continue to explore equine imagery using a wide diversity of styles and materials and horses remain a relevant and inspiring subject in art and modern day culture.


Perhaps the relatively new medium of Sculpture Installation might effectively be used to highlight current concerns relating to America’s wild horses and burros (perhaps this is already being done?). 


It is good to note that a number of very talented equine photographers are creating stunning images  to address these issues of concern to great effect.


EquuStyle:  Tell us about a particular equine sculpture that holds special significance for you. Why is it important?


Sandie Henderson:  The stunning Horse of Selene sculpture, currently housed at the British Museum, is without doubt my favourite equine sculpture and holds particular significance. I came across this renowned marble piece from the Parthenon, as a first year sculpture student on a visit to London and well remember its tremendous impact. It moved me deeply.


The sculpture depicts the head of one of the horses of the moon goddess, Selene. The horse’s expression, with pinned back ears, gaping jaw and bulging eyes, conveys the intense effort and exhaustion of pulling Selen’s chariot across the night sky.


EquuStyle:  Are you currently working on any projects you’re excited about?


Sandie Henderson:  My tired old studio building sadly reached the end of its days earlier in the year and I have a new studio currently under construction. Whilst the prospect of a new studio is tremendously exciting, being temporarily without a studio has impacted heavily on the development of new work. 


Artist with long hair sculpts a horse model in a studio. Shelves with horse figures and a wall art of a horse in the background.
Equine sculptor Sandie M. Henderson works on a horse sculpture in her former studio, surrounded by artwork and tools of her craft.

However, despite less than ideal conditions two new sculptures are slowly taking shape in my kitchen. One is a small cantering horse and the other, a larger Etruscan themed horse. Both are in air drying clay and when complete they will be cast into foundry bronze, always a very special and exciting process. 


EquuStyle:  What are your aspirations for the future of your art?


Sandie Henderson:  In the immediate future I’m looking forward to the completion of my new studio and having a comfortable working environment once again.


Longer term, I will be seeking out more gallery representation and exploring new creative ideas, processes and materials. 


My particular interest at the current time lies in depicting the spirit of the horse at liberty and its connection to the landscape. I will continue to explore these themes.










All images Copyright Sandie M. Henderson and Carnes Fine Art Gallery -all rights reserved. Cannot be reproduced for any purpose without permission from Sandie M. Henderson and/or Carnes Fine Art Gallery.


 
 

Film crew recording an elderly former racehorse trainer wearing a cowboy hat is seated outdoors near stables. Equipment and film crew members surround him, capturing audio and video during an interview about the film "Eddie's Turn".
Writer/Director Annika Hylmö and crew on the set of the upcoming film Eddie's Turn. Photo: Ashley Covington

Swedish filmmaker Annika Hylmö had just completed her first short film, the film festival award-winning comedy Dr. Penelope, was enjoying the critical acclaim and looking forward to pre-production on her next two projects when the COVID pandemic in 2020 shut down the film industry. Gone were the movie theatre audiences and with them the funding – donations and grants – that independent filmmakers rely on. 


“It was very tough,” said Hylmö, who has been living in California for over 20 years. “I wrote scripts and made short films for many years, with the goal to make narrative films, something I’ve been working toward my whole career.” The shut-down left everything open-ended, with no clue how long it would last. Discouraged, worried about her career and her finances, Hylmö started experiencing anxiety and knew she needed to take care of her mental health.


Swedish filmmaker Annika Hylmö riding a white horse named Eddie in a forest. She wears a brown top and helmet, and the horse has a maroon bridle. Green trees surround them.
Hylmö and Eddie on one of their afternoon jaunts. "I try to ride at least three times each week." Photo: Ashley Covington

As a youngster, the one activity that soothed her more than anything else was riding. As often as she could, Annika would make her way over to the stable and take one of the horses for a ride. “I realized I wanted to start riding again,” Hylmö said, who never formally quit riding but between getting her master's degree and her Ph. D in Communications she didn’t have time for something she once thought of as a hobby.


It took only a couple of weeks of riding regularly that made Hylmö realize this was much, much more than a hobby. Annika got back into riding three days a week, exploring new trails and vistas, and getting to know Eddie, the 10-year-old white gelding she rode regularly. Eddie had been a successful racehorse, who competed at Santa Anita and Del Mar racetracks before an injury forced his retirement. 


Eddie, who would soon be Annika’s horse, did more for Hylmö’s mental health than she could have imagined. “I experienced such a dramatic change in the way I felt about myself and about my life when I was around him that I wanted to learn what this was about,” she said, leading her to discovery a therapeutic school for treating anxiety disorders and trauma called equine therapy, where the presence of a horse in the therapy sessions give clients a sense of security as they reveal their feelings. She learned that former racehorses were among the best equine therapy partners, due to their temperament and self-discipline. “I became aware of this incredibly symbiotic relationship happening across species,” Hylmö said. “We have the capacity – and the desire – to help each other, to make both of us better.”


All photos of Annika Hylmö and Eddie by Ashly Covington


Hylmö believes the narrative story-telling format will resonate more powerfully with audiences because of the emotional nature of the horse and human connection. “In a documentary, you can tell the audience what the problem is you’re trying to solve,” Hylmö said. “In a scripted story you have to make them feel it.”  Films like Seabiscuit, Secretariat and Robert Redford’s classic The Horse Whisperer, have gone down in history as forever changing the way humans understand horses and, how they understand us. Steven Spielberg’s War Horse gave us a closer look at the inner life of horses and the trust that is so vital to any meaningful horse/human dynamic.


Smiling woman with curly hair in a blue sweater sits outdoors against a blurred green background, conveying a cheerful and relaxed mood.
Eddie's Turn Producer Betsy Pollock being interviewed about the challenges of bringing a short film to life. Photo: Ashly Covington

With her mission clear, Hylmö turned to her good friend and colleague, Academy Award®-winning producer Betsy Pollock, who was AFI’s head of production for 16 years. Together they produced a budget that included pre-production, principal photography and post-production, horse wrangling, ranch and stable rentals, cast and crew. One of Hylmö’s first hires was Bergitte Jorgensen of Bixi Communications to create and support an online and social media presence for Eddie’s Turn. “Fundraising for independent projects has always been difficult,” stated Pollock, “and has become even more so as the industry has contracted over the past few of years, as all independent filmmakers know. Fortunately, there are organizations like our fiscal sponsor, Film Independent, that partner with indie filmmakers to provide support, networking opportunities, outreach, etc.”


All photos of Annika Hylmö and Eddie by Ashly Covington


Annika and her team are investing in a concentrated social media and outreach campaign for Fall 2025 to support the EquuStyle article’s publication with racetracks, horse owners, breeding farms, horse clubs and more. “We believe that Eddie’s Turn can have social impact and make a difference in our world,” said Hylmö. “It’s our intention once the film is complete and we’ve finished our festival run to offer Eddie’s Turn as a fundraising tool to off-the-track thoroughbred communities and an educational tool for equine therapy centers.”


“We’re made aware every day that there’s a mental heath crisis out there,” Annika said thoughtfully, “and a need for more affordable care. It is our hope that Eddie’s Turn will help build awareness of Equine Therapy and its value, for people looking for help and for on-and-off-track racehorse owners as well.”










EquuStyle Magazine expresses gratitude to Pamela Rodi for her captivating article on the forthcoming film Eddie's Turn and Ashly Covington's photography. We extend our heartfelt thanks to all those involved in the creation of Eddie's Turn, particularly filmmakers Annika Hylmö and Producer Betsy Pollock, who aim to highlight the advantages of equine-assisted therapy for people of all backgrounds.


All images are copyrighted by Ashly Covington and Eddie's Turn Movie - all rights reserved. Reproduction for any purpose is prohibited without permission from Ashly Covington and Eddie's Turn Movie.



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