48/ DECEMBER 2013 THE RIDER Creates Spectacular Equine Statues


spectacular and I can only imag- ine how awe-inspiring the actual


months, I’ve become intrigued by artists discovered online while browsing through interna- tional newspapers and maga- zines, especially those with a horse theme (natch!). I was on a British news site recently and a photo in a side-bar caught my eyes immediately. It was a pic- ture of a massive two-headed steel horse sculpture by Andy Scott, soon to be unveiled at the entrance to a new eco-park near Edinburgh, Scotland, guarding the entrance to a canal link con- necting the Firth of Forth with the River Clyde in Glasgow. The artist’s rendering was


Over the past several


both mythic in subject and size – please share your creative pro- cess when starting a commis- sion such as The Kelpies i.e. do your clients give you their ideas in a brief and expect them trans- lated into steel or do you offer your own vision for each piece then work to your own design & imagination once approved? Andy: The latter. Although my portfolio now speaks for itself and I imagine folks would have an idea of what to expect when commissioning me, they usually leave the brief open for interpre- tation. If they have a strict idea of what they’re after, they could appoint a fabrication company to follow direction. By appoint- ing me they are commissioning


Glasgow where “The Heavy Horse” has become one of the best known sculptures in the area. It’s sited immediately next to the main motorway into town and if I had a penny (or a cent) for every time someone told me they knew they were nearly home when they saw that horse, I’d be a millionaire! More seriously, to think that an artwork can become known as a symbol for a city, for the sense of “home” that is fantastic! This experience has since been trans- lated to other places, most notably in Belfast where that once troubled town has really taken my 65 ft tall “Beacon of Thanksgiving” to its heart. Many of those personal connec-


ence to think that what I make with my hands can have a deep emotional impact on members of the public. And it can also be hugely rewarding - like I say, sometimes they simply brighten the everyday experience and that’s good enough.


Rider: I noticed that your Kelpie maquettes (small scale models) were exhibited in Chicago recently and are sched- uled to be displayed in New York next summer to coincide with the “unveiling” of the actu- al sculpture in Falkirk. Will the maquettes travel anywhere else?


here in Scotland. However, budgets are extremely tight everywhere and shifting a pair of 2 ½ ton steel horses around requires considerable planning & logistics. Canada is on our tour wish list and I am personal- ly very keen to seek exhibition space in your country’s biggest cities. Having visited Canada a few years ago I was struck by the prevalence of the Scottish diaspora and really like the idea of bringing these symbols of modern Scotland to the Canadi- an audience.


Rider: I was intrigued with your Andy Scott Scottish Sculptor


Glasgow School of Art, Andy Scott has completed over 70 projects across a wide range of disciplines in the UK and inter- nationally. His distinctive hand- crafted figurative sculptures combine traditional dexterity with contemporary fabrication techniques, and range in scale from 3 to 30 metres in height. Scott works with teams of struc- tural engineers, fabricators, haulage & crane operators, lighting designers and a host of other specialist professionals to create striking landmark art- works. I found other stunning examples of his sculptures located around the world includ- ing the 12 ft high prancing “Arabesque” horse located in Queensland, Australia (pic- tured), another due for unveiling soon in Dubai, and the 15ft high Clydesdale known as “Heavy Horse”, located beside a major motorway between Glasgow and Edinburgh (pictured next page)


tos of this brilliant sculptor’s work and interview him for The Rider, so after reaching out to his office across the pond, I was thrilled to have an online chat with Andy.


Rider: Your sculptures appear I knew I had to share pho-


pieces will be in real life. Known as The Kelpies (pic- tured), after the mythical water horses in Scottish lochs and rivers, each horse head will be the height of a 10-storey build- ing and will dominate the 740- acre Helix Project park of forests, walks and cycle paths which is being built on scrub- land near the Grangemouth refinery. A graduate of the famed


artistic interpretation, though having said that there is nothing worse than a complete blank canvas. It is always better to have some idea of the clients’ aspirations, background and budget. I usually present a number of design options and then hone it down to the final sculpture.


Rider: You’ve completed many commissioned and public art- works - how do you feel your work inspires or affects those who stand and look up at them? Andy: I can only really judge that on the responses and expe- riences I’ve had with the public after the event. I’m based in Scotland, and over here people are not shy of telling you what they think (!) but I’m pleased to report that most responses are favourable. I’d like to think at their most basic level my art- works elevate the mundane and enrich the everyday experience. Some, I am reliably informed, have quite a revelatory impact on specific areas and the people who live & work there, evoking a sense of ownership & pride which was previously missing. They humanize the space they inhabit, lending character which urban developments often neglect. In rural sites I try to add to nature’s always perfect composition, which, as you can imagine, is a hard task.


Rider: And have you received any letters or emails from peo- ple who have been emotionally affected by your work? If so, would you kindly share some of their comments? Andy: I have received many over the years, most notably from here in my native city of


tions to the sculptures are deeply personal and folks have relayed very intense emotional connections linked to departed family members, kids with learning difficulties and other personal circumstances which are truly humbling. It’s a very intense experi-


Andy: Yes, it seems the maque- ttes have assumed a life of their own away from the full scale sculptures, which is great. With The Helix park in Falkirk, we have high hopes of touring the artworks, and will soon be hav- ing discussions with govern- ment agencies in that regard


Arabesque piece – can you explain how that work in Queensland came to be? Andy: I had a studio in Queens- land for a while and Arabesque was produced there. I exhibited in Australia many years ago and such was the interest that exhi- bitions became commissions


and it kind of snowballed from there. Before I knew it I was spending more time in Sydney, Melbourne and Brisbane than I was in Scotland. Arabesque was made for the Swell outdoor sculpture exhibition and was


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