Interview Andrew Lendzion Bronze horses

(Q) Do you recollect your earliest influences ?

(A) Yes...I believe it was my grandfather...he wasnít a sculptor, but
he was a sensitive man, I can remember that from the way he used
his hands...Whether it was gardening or fixing something, there
was this Integrity of work....itís inspired me throughout my life.

(Q) What brought you to sculpture ? Did you have a formal art
education ?

(A) I lived in a variety of countries as a child...took in a lot of
flavors...I was always drawing and day -dreaming in equal
measures...I think sculpture found me...I trained at St Martins,
in London.

(Q) What was the time at St Martins like ?

(A) I was twenty-two...and probably still looking for a sense of
myself...what I was struck by was the emphasis placed on art
theory....finding yourself a niche within the ismís and nuances of
contemporary seemed that the house style you choose was
more fundamental than finding an aesthetic language.

(Q) What were you looking for within your course ?

(A) I think Iíd imagined art education to be more practically
instructive....something like a traditional apprenticeship
I wanted to learn technique, bronze casting, stone carving....I
was looking for an anchor in tradition...a formal or classical
training....I Ďd imagined sculpture as much as a trade as a

(Q) What do you value most about the time in art education ?

(A) I think the luxury of continuous time in a evaluate
your question and formulate your ideas....and of course
the interaction with peers who are preoccupied with the same set
of judgments..some of my most profound friendships were founded
at St Martins....and I value those above all else.

(Q) What were your formal influences ? Did you have a sculptural
mentor ?

(A) Coming from a diverse family foot in Europe,
the other in the East, I think I had a wide set of influences...I
gravitated towards figurative representation...that was my
constant...I looked at Greco-Roman through to high Renaissance,
and also Indian erotic mentor...the myth of
Michelangelo continues to haunt and inspire me in equal
measures....the ambition, stubbornness, passion strikes a chord
in me.

(Q) What were your final year sculptures like ?

(A) I sculpted a composition of two life size horses....a classical
rendition of an erotic theme...the mare and stallion in sexual

(Q) Did you look at equestrian monuments for inspiration ?

(A) Not directly...the work is an expression of the fundamental forces
of nature...Procreation being one of the most compelling...for me
the formal qualities of a horse suggest an unbridled vigor for
life...itís amplified by the sheer mass of the animal...itís the
sculptural volumes and gravity implied that determined my
choice....simply put, itís my celebration of passion, in itís
universal sense.

(Q) How was your work received ?

(A) I think contemporary influences were more conceptual....most of my
peers and tutors had rejected classical or figurative imagery...I
was aware that I was swimming against the tide.

(Q) Did that cause you to reevaluate your work ?

(A) I will always remember a group of nuns, who had surprised me with
a visit to my degree show...their positive reaction was a
defining moment for me...I began to question my obligation to my
audience....I believe that a sculpture should have the ability
to stand alone....without the labels of fame and
should be a tactile transmission from artist to viewer.

(Q) What was the next development in your sculptural activities ?

(A) I decided to cast my horses in bronze.

(Q) Thatís quite an undertaking for a student...what was working in
bronze like ?

(A) Bronze casting is an ancient hasnít changed much
in thousands of years...bronze is a resilient and adaptable
material for formal statuary....thereís a primal quality to the
activity of melting metal with was a lot of heavy and
hot work...but I enjoyed the involvement immensely

(Q) How important a landmark is the horse sculpture to you ?

(A) I think that every work, whether itís a pencil sketch or a three
year bronze project plays a role in the evolutionary processes of
themes and ideas....when you are restricted to only your physical
and mental input with a sculpture the experience is intense and I
think the work is in someway empowered. I think there's an
integrity that comes from finding the balance between authorship
and production...the labor of your hands as your signature.

(Q) How do you feel the work relates to contemporary art now ?

(A) My developing relationship as a practicing sculptor within
contemporary art culture will define that.... I can perceive that
thereís an unspoken hostility against classical or heroic themes reaction is to remain true to my expression...I
believe that if an artist starts to compromise in order to secure
critical approval, then thereís a loss of integrity and personal

(Q) Where are the horses now ?

(A) The sculpture is currently on view in Switzerland..with the kind
assistance of my dear friends Suz, Max, and Joe.

Please click on Bronze Horses for more images