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The first bits of creating are clunky and awkward, but soon I melt into that flow zone, and the muse comes to dance. It is a state of mind where time does not exist and senses are sharp and focused.
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is fascinating. Dylan Lewis has influenced me to push expressive texture within elegant form. I never tire of seeing Nic Fiddian-Green’s uncomplicated yet potent equine sculpture. Catherine Thiry’s work is gorgeous. Deborah Butterfield is my artist hero. This woman has built a career solely on the equine motif. Her lyrical sculpture in various media is the essence of art with the soul of a horse. H&S: What is your state of mind while you are working? SR: I work best in week-long chunks of concentrated time. It usually begins with cleaning and organizing my space. The first bits of creating are clunky and awkward, but soon I melt into that flow zone, and the muse comes to dance. It is a state of mind where time does not exist and senses are sharp and focused. It can feel like breathing underwater. I dive in before my first cup of coffee in the morning
30
· september/october
and don’t come up for days. When I finally take a break, I notice the backlog of emails and laundry, phone calls and empty fridge. But it is bliss to ignore all of that and create. H&S: Do you sculpt from memory, or do you use photographs as reference? SR: I will use any reference I can. A live model is best, photos and video, anatomy references if I need them. But at this point I can sculpt a horse from memory. Except the stifle…it trips me up every time! H&S: How long does it take to complete one sculpture? SR: In a couple of days to a couple of weeks I can get a piece 80% rendered, but it is generally a year or more before it is finished. The last decisions before it goes to the foundry are the most painful. I am usually mixed with anxiety and relief when it is delivered to the mold maker. It is possible to make
Bronze Sculptures (Left to Right): Reach Recklessly, 18"x12"x5"; Search, 18"x12"x5"; Focus, 12"x18"x5"