World of Equine Sculpture

Article Provided Complements: by California Riding Magazine

Capturing Motion in Bronze

By Erna L. Adelson

      Creative homage to the equine literally spans centuries. Xenophon, Greek historian of note said that “a horse is a thing of beauty…no one will tire of looking at him as long as he displays himself in his splendor.” To this day, the horse has been the inspiration for art of nearly every medium and style and is a symbol across cultures of nobility, strength, power, and beauty. 19-year-old Deanna Cummins draws inspiration for her bronze sculptures from such qualities and from the relationship between horse and rider.

 “My passion for sculpting was   discovered when I discovered my
  passion for riding. When I learned   about the relationship between man   and animal through the convergence of   the mind and body, I realized that I   could express this phenomenon   through art,” she explains. After her   first trainer bought the sculptures that   Cummins made of his stallions,   sculpting evolved into more than just a   passion for the young artist. Sculpting   became a pursuit involving study,   observation, and research. Though she   has no formal training, Cummins hones   her skills by observing horses daily, riding and training to deepen her understanding of the animal and of the connection between horse and human, and learning about the history of a breed or a style of riding for accuracy. She also studies veterinary science to justly portray the muscle structure and confirmation of each subject.

From Inspiration to Patina

      A sculpture starts with a subject such as a horse chosen at liberty or a commission, or a riding discipline. Cummins attends shows or studies the specific horse while it is turned out. She takes lots of photographs to capture variety in position and expression. Often, a sculpture starts with a facial expression or another subtlety that often goes unnoticed.

      Cummins chooses her favorite photo and begins by building a wire frame in that position, taking great care in creating realistic body structure and movement. The wire frame is then covered in tinfoil and clay. After the clay mold is completed a rubber mold is formed over the clay sculpture to create a positive figure. When the rubber becomes firm it creates an impression of the original clay, creating a negative. This mold is then used to pour and produce a wax figure—a positive again.

      After the wax is cleaned, pouring holes are added and it is sent to a foundry where a ceramic mold is cast. The wax is dipped several times into a ceramic slurry. As the ceramic hardens it creates another negative mold around the figure. The ceramic is then fired and during this process the wax is melted out in preparation for the final medium, bronze. This is known as the disappearing wax technique.

      The bronze is poured directly into the ceramic mold. After the bronze cools the ceramic mold in broken away and the pouring holes that were added to the wax are cut off. After the bronze is completely cleaned it is ready for a finish, or patina, which adds the color to the sculpture. It may be added by heating the sculpture or applied cold. The finish will be a different color and texture depending on the conditions that it is applied. After the patina is dry the sculpture is polished, buffed, and waxed.

      Depending on the size and the detail of the piece, Cummins will work on a commission for anywhere from three months to a year before it is finalized. While she works on as many as 5 sculptures each year, Cummins is also currently getting her Bachelors of Science in Equine Studies through Breyer Sate University and raising and training her four horses in Alta Loma, California.

For information on commissions, please contact Deanna Cummins