- Robin Black
- Sep 9
- 9 min read
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.
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.
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.
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?
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.
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.
