The Hickstead Statue was commissioned by Spruce Meadows and Eric Lamaze to honor Hickstead, the greatest showjumper of our time. With Lamaze, Hickstead jumped to individual gold and team silver at the 2008 Olympic Games in Hong Kong, individual bronze at the 2010 Alltech FEI World Equestrian Games (Ky.), where Hickstead was named Best Horse, and second place individually at the 2011 Rolex FEI World Cup Final. They won grand prixs all over the world, including in Rome, Aachen and La Baule. Together, they claimed the prestigious CN International at Spruce Meadows in 2007 and 2011.

1. CREATING
THE HICKSTEAD STATUE

2. THE GREAT HICKSTEAD
Photos: Keara
McMurdo
Commissioned by Spruce Meadows & Eric Lamaze
to pay homage to Hickstead

3. DESIGN ELEMENTS
The measurements were converted to 1/5th life-size for creating
the initial model and converted from 1/5th to life-size
parameters for 3D scanning and enlargement to life-size form
in foam.
Hickstead was the number one Show
Jumper in the world, so it only
seemed fitting to design a statue of
Hickstead that reflected him soaring
through the air.
Without the ability to take
measurements of Hickstead in person, I
used calipers to take measurements
from a profile image of Hickstead to
determine the proportions of his body.

4. ARMATURE
The armature is the frame around which the plasteline, an oil based clay is
applied to create the1/5 life-size model. The wire is formed to reflect the
movement of the horse that is ultimately reflected in the bronze sculpture. It’s very
important at this stage that the proportions are correct from the beginning.
Making a change later, once the clay has been applied can be very difficult.

5. CREATING THE MODEL
The clay is applied to the armature wire and sculpted to form the horse. I
typically start with the barrel of the horse and move outwards. The larger sections
of the body are formed before moving on to the limbs, head and tail. During the
process of creating the model, I check proportions of the anatomy using the
measurements taken with calipers.

6. 3D SCANNING
The original 1/5 life-size model is
scanned and the size
converted from the smaller
model to life-size dimensions.
Prior to scanning the clay model, it is critical that the model is perfectly sculpted.
Small imperfections in the 1/5 life-size model will be magnified once the image is
routed in foam to create the life-size form in foam. This increases the time
needed to correct imperfections, further sculpt the enlarged foam sections.

7. ROUTING 3D IMAGE IN FOAM
A 3D computer software model representing the 1/5 life sculpture is imported
into Computer Aided Manufacturing Software. The software is then used to
create complex multi-axis "tool paths," paths by which the cutting head of the 7
axis robotic milling system will move and mill away material from a block of
dense foam to create the sculpture in sections of foam.
The block of foam is placed on a turntable, and as the turntable rotates, the
robotic arm mills the foam revealing more of the horse with each rotation.

8. SCULPTING THE FOAM
After the 3D image was routed in sections of foam and
transported to my studio, the main body was glued
together and a plumbing pipe was used to support the
foam sculpture.
Level of detail before
& after further
sculpting.My farrier Mauro Reis
created the shoes
Sculpture tools, wrasps and an electric sander were used to sculpt the foam.
The foam is quite dense and allows for detailed work, however, it is also toxic so
proper breathing apparatus must be worn.
The legs, ears were attached temporarily with armature wire
to fit pieces together for further sculpting.

9. CLAY APPLICATION
Once the foam has been
sculpted, a thin layer of
clay is applied to the
urethane foam and the life-
size sculpture is now
sculpted to create the final
form & texture before the
mold is made. This process
was started in my studio in
Pipersville Pennsylvania and
continued after shipping
the sculpture to Artworks
Foundry in Berkeley
California.
Studio, Pipersville PA

10. CLAY APPLICATION
ARTWORKS FOUNDRY
The timeline for creating the Hickstead statue was
exceptionally short. Roman Lapaev assisted me
with applying clay and again in the wax stage with
chasing the wax. I am so grateful for the long hours
he worked to help me complete this project.

11. LIFE-SIZE CLAY SCULPTURE

12. MOLD MAKING
The metamorphosis of a sculpture from the original clay model into bronze
begins with a rubber mold.
For the Hickstead statue, the main body was divided into 4 sections, with
the head, legs, and tail being molded separately. Aluminum shims are
used to creating dividing lines before spraying on several layers of Silicon
rubber.

13. MOLD MAKING
Several layers of Silicon rubber are sprayed on and later reinforced with
sheets of fiberglass fabric before making a mother mold. (image on right)
A protective and rock hard "mother mold" made of reinforced plaster is built
around the pliable rubber. When the mother mold is complete, the mold is
opened and the original sculpture removed from within.
For the head, legs and tail the two halves of mold will be joined together for
creating wax positives.

14. POURING THE WAX POSITIVE
Wax is heated to 210 degrees
and brushed into the molds. As
the wax cools slightly, additional
layers are added, taking care not
to melt the previous layer. The
thickness of the bronze will be the
same as the wax, approx. 3/16”
Penpa TseringRicardo Mariscal
Strips of wood are positioned
within the hollow of the wax
to support the shape while it
is being chased and during
the investment process.
Red=Wax
Green=Rubber mold
White=mother mold

15. WAX POSITIVE
The armature is the frame around which the plasteline, an oil based clay
is applied to create the1/5 life-size model. The wire is formed to reflect
the movement of the horse that is ultimately reflected in the bronze
sculpture. It’s very important at this stage that the proportions are
correct from the beginning. Making a change later, once the clay has
been applied can be difficult.

16. CHASING THE WAX
"Wax chasing" is the delicate process of joining the wax pieces, removing seams and repairing
imperfections with heated customized soldering irons or tools - dental tools are ideal. After the
wax was cast, I traveled to the foundry in California to check the integrity of the wax and to
chase it myself. With the tight schedule for creating the statue, it was also an opportunity to
make refinements that could not be made in the initial clay model.
After the wax was chased and approved, the wax pieces advanced to "Spruing” and
"Gating." The gates and sprues are also made of wax. They form the channels through which
the melted bronze will travel to the artwork.

17. SPRUES & GATES
Sprues and gates are attached to the wax sculpture, to provide channels for
bronze to flow into the cavity of the ceramic shell.
Wood support structure helps maintain the shape of the thin layer of wax.
Without support the shape of the wax could change, creating a problem with
fitting pieces together once its cast in bronze.
The thickness of the wax represents how thick the bronze will be.
Front left ¼ of body
Pouring cup & sprues on left
Pouring cup, spruesWood support bars

18. INVESTING
"Investment" is the process of building a rock-hard shell around the wax sculpture.
Later, when the wax has been melted out, the investment will serve as a mold for
the molten bronze. For most of history, an investment consisting of plaster, sand
and water was used to accomplish this task. In the last 20 years, a new technology
called ceramic shell has become the industry standard. Artworks Foundry
converted to a 100% ceramic shell system in 1995.
Prior to the invention of ceramic shell, solid plaster investment was used. To invest
by the solid plaster method, tar paper is loosely wrapped around the wax
reproduction in the shape of a cylinder. The enclosed space surrounding the wax
is then filled with a wet plaster/sand mixture. When the plaster hardens, the tar
paper is removed and a solid plaster investment is ready for "de-wax.”
Whether ceramic shell or plaster is used to make the shell, the wax is a "positive"
which must disappear in order to create a cavity or "negative" for the bronze to fill.
Thus the phrase "lost wax casting" comes from the process of the wax being
melted or "lost" from the shell. Ceramic built shells are "de-waxed" in a high
pressure steam chamber known as an autoclave; plaster invested shells are de-
waxed in a kiln.

19. CERAMIC SHELL
The completed ceramic shell is fired in a large kiln at which time, the wax melts
out leaving an empty shell (mold) for pouring the bronze into.
Images reflect the ceramic shell process using a smaller sculpture
The ceramic shell technique begins by dipping the
gated wax into vats of slurry followed immediately by
a bath of sand. This process builds a very thin wall of
silica around the wax. When repeated approximately
9 times, allowing for dry times in between dips, a hard
shell about ½" thick forms around the wax.
David Muela & Juan
Carlos Calva

20. THE BEAUTY OF BRONZE
The alloy cast at Artworks is known as Silicon Bronze. The metal is made up of the
following elements: Copper 94.0%, Manganese 1.1%, Silicon 3.9%, trace elements
1.0%. Silicon is an additive which helps the "flowability" of the bronze. It achieved
widespread use during World War II when lead and tin were in short supply.

21. THE POUR
A huge graphite crucible, fired by a furnace, is
filled with bronze ingots that are melted. The metal
begins to melt at 1700°F. Bronze "seizes" (stops
flowing) when confronted with cold, which might
occur if molten bronze was poured into a room
temperature shell; therefore at the same time the
bronze is being blasted by a natural gas furnace,
the ceramic shell is heated in a kiln to
approximately 1100°F.
When the "Dance of the Pour" begins, the
crucible is lifted by a crane out of the gas
furnace. At the same time, the glowing
ceramic shells are brought out of the kiln
to the pour area. Two artisans operate
the crane which holds the crucible in a
"jacket." The artisan with the controls is the
"lead pour," the artisan maintaining the
crucible balance is known as the
"deadman." A third member of the pour
team pushes away dross and slag on the
surface of the molten bronze.
The entire pour is very fast and very
precise; one crucible of bronze holds 400
lbs. and can fill one or two large shells or
ten or more small shells. The first pieces
poured are those with thin walls and
intricate details; requiring hot, fluid bronze
to move throughout the channel system.
Luke Heimbigner & Nick DePhilipo

22. DEVESTING CERAMIC SHELL
Above is the bronze from the Hickstead
Trophy.
Wilfredo Virella-Resto
"Devesting" is the process during
which the investment is removed
from the bronze. Approximately
one hour after the pour, the piece
is cool enough to handle. Skill and
strength are combined with
hammers and power chisels to
knock the investment off the freshly
solidified metal.
The gates and sprues must also be removed
with a high intensity electric arc that can cut
through the bronze like butter. The final step
is to sandblast the fine investment from the
bronze. When clean, the sculpture
advances to the metal shop.

23. METAL FABRICATION, CHASING & FINISHING
Like wax chasing, bronze must also be chased or cleaned to address
the slight imperfections that may result from the casting or shell building
process. On larger sculptures, where assembly of cast sections is
required, chasing is essential to take down weld lines formed by the
joining of two planes.
Metal chasing usually starts with large electric or pneumatic grinders to
remove the bulk of the unwanted metal. Then, more refined and smaller
tools such as die and pencil grinders are used to re-create the artist’s
subtle surface texture.
Much as a house needs a wood frame to stand, many monumental
bronzes require a stainless steel internal structure to support the bronze
"skin." Most larger than life-size bronzes are analyzed by a structural
engineer who recommends a support structure that can withstand
earthquakes and high winds.

24. CHASING THE METAL

25. Left, the four sections of
body have been
welded together. The
seams will be carefully
removed with
pneumatic grinders
and the texture
recreated where the
weld seams were.
Once the bronze was cast, I traveled to the
foundry to inspect each piece of metal.
Where necessary, I further defined the
anatomical details in bronze. The artisans at
the foundry are very good but unless you
know horses, there are subtleties in the
anatomy that can easily go unnoticed by a
person unfamiliar with horses. Example shows me chasing the
Hickstead Trophy

26. FABRICATING
Initially, the head, legs, ears are only
attached with a couple of weld
points.
A metal bar is welded to side of the body as a level marker to ensure the angle of
the sculpture is correct as it is assembled and prepared for the support arms.

27. STRUCTURAL SUPPORT
Creating a support structure to support more than 1,000 pounds of bronze in a
way that portrays forward movement proved to be challenging in many ways.
The support structure consists of two
support arms that tie into an internal
armature that was fabricated within
the body of the bronze of Hickstead.
The support arms tie into a subsurface
steel frame. 3D Structural Analysis &
Design Engineering Software (STAAD)
was used by the structural engineer to
determine the dimensions of the
support arms with strict adherence to
safety requirements for a public
installation.
Dynamic analysis for wind loads was conducted on the
sculpture size, weight, subsurface steel frame weight,
cantilevered angle & weight of support arms and
applied to STAAD to determine the correct strength
and deflection criteria for the support structure.

28. INTERNAL ARMATURE
Two windows were created
within the bronze body of
the statue to allow access
for fabricating the internal
armature. The two support
arms that hold the massive
weight of the bronze
sculpture in the air was
intriquitly welded into the
internal armature.

29. BUILDING SUPPORT STRUCTURE
Before integrating the support arms & stainless steel subsurface structure, the
bronze was hoisted into the air and 5 steel support bars welded underneath the
bronze for support. The stainless steel support arms were then welded in place.

30. WELDING
FROM ALL ANGLES…

31. PREPARING FOR TRANSPORT

32. SEAPORT TO BERKELEY
Sculpture was loaded on a flatbed trailer and moved from Seaport
to the main Artworks Foundry location in Berkeley. It was a rather
strange sight for those traveling on I-80 that night!

33. METAL FINISHING
The neck, tail, ears, legs were securely
welded and the patch removed from the
abdomen was modified to accommodate
the support arms and welded in place.
Weld lines are removed using pneumatic
grinders & sanders and the texture of the
surrounding area is recreated where the
weld seams were.

34. SANDING & POLISHING
After fabricating & finishing metal, the sculpture is sanded and polished using
pneumatic tools. This removes dirt, metal fragments and gives it a more uniform
appearance making it easier to detect any imperfections that may still exist.

35. RIBBON FABRICATION
The ribbon was designed to symbolize a winner’s sash.
The bronze sheet at the support arm was rolled using a rolling machine to create a
tube. The tube was cut at required angles to meet the horse at the top and the
angle of the ribbon flowing down and behind the sculpture.
The support arms were designed to be implemented at an angle to convey the
feeling of forward motion.

36. SAND BLASTING
The entire statue is sandblasting prior to applying the patina. This cleans the
surface of the bronze and evens out the tone.

37. PATINA
Above: Blow torch was used to heat the bronze. 1- Sulphureted potash applied to entire
sculpture 2- Sculpture is cooled with water 3-5. Scouring pads are used to rub back the
black potash to define the highs & lows and areas that will be warmer in tone.
1. 2. 3.
4. 5
Patineur Aiya Jordan
Patination is the enhancement of bronze by the chemical application of color. Three water
soluble compounds form the basis for most patinas: Ferric Nitrate produces reds and browns,
Cupric Nitrate creates the greens and blues and Sulphureted Potash produces black.

38. TRANSFORMATION OF COLOR & TONE

39. PATINA
To achieve the warmer brown
tones, Aiya used ferric nitrate
and for darker areas a small
amount of lamp black to even
out the tone.
For white socks, blaze and chin, bismuth nitrate,
stannic oxide and titanium dioxide was used.
Prior to starting the patina, I used a pencil grinder
to draw in metal, the white areas; socks, blaze
and white on lower part of the muzzle.

40. APPLYING WAX
To protect the patina, Johnson’s clear paste
wax was applied while the sculpture was still
warm from using the blowtorch.
Normally the sculpture is buffed after it cools however, with the sculpture
being shipped to Spruce Meadows early the following morning, I buffed the
sculpture on site at Spruce Meadows prior to the unveiling.

41. SHIPPING THE SCULPTURE
Wrapped with blankets and stretch plastic, the sculpture was loaded on a
flatbed trailer using a forklift and transported to Spruce Meadows in Calgary
Canada.

42. BUFFING THE STATUE
After arriving at Spruce Meadows for the unveiling, I finished buffing the statue.
It was also a time to take in the stunning surroundings of Spruce Meadows and
relax a bit after several months of continuous long hours, preparing the Hickstead
statue for the unveiling.

43. UNVEILING THE STATUE
During an emotional tribute to Hickstead, the statue was unveiled by
Eric Lamaze & John Fleischhacker prior to the CN International
during the Master’s Tournament at Spruce Meadows.
Photos:
Keara McMurdo

44. HICKSTEAD STATUE UNVEILED
Beautiful photo by Ashley Roehmer

45. FOR THE LOVE OF HORSES
Since I was a child, I’ve had a passion for horses
which has been my source of inspiration for
creating art.
The story of Eric Lamaze and Hickstead, how they
came together and the challenges they faced,
fueled the adrenalin I needed to complete this
complex project in time for the special tribute to
Hickstead during the Master’s Tournament at
Spruce Meadows.
Mary Sand, her horses Ami &
Machu Picchu
I feel immense gratitude for the opportunity to
create the Hickstead Statue. A heartfelt Thank You
to Spruce Meadows, Eric Lamaze & the
Fleischhacker family.
As an equine artist, there is nothing more rewarding
than to create a sculpture of a horse that is loved
by so many and that has accomplished as much
as Hickstead has in his showjumping career.
~ Mary Sand