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Balance and Stability in the Exploration of Equestrian Forms with Charcoal in Sculpture

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Description

– Balance and Stability in the Exploration of Equestrian Forms with Charcoal in Sculpture –

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Abstract

This study “Balance and Stability in the exploration of Equestrian Forms with Charcoal in Sculpture” seek to use charcoal to project solid balance and stability in equestrian forms with minimum contacts with the pedestals.

The problem of the study is the weight of media and procedural challenges which have caused sculptors to use several points of contacts between the base and the forms for support and consequently restraining the dynamic actions of the equestrian forms.

Therefore this study aimed at projecting a seeming delicate but permanent balance and stability of the equestrian form so as to grab hold of the natural qualities of its movements and actions.

The research started by looking at the works of artists who had attempted to solve the problems of balance and stability in the equestrian form in their own ways which led to the evaluation of their works.

However, the review indicates that the weights and complicacies of media like concrete, stone, bronze, metal, etc. could not allow the artists to express the forms with sufficient independence on the pedestals hence the use of charcoal to resolve the issue. The methodology used for this research was practice-led.

The researcher made use of photographs of the mounted and free horses from different sources. Some of the photographs were taken at Zaria polo club while images and information from books, the internet, theses, journals, the magazines and motion pictures were also used.

Introduction

1.1 Background of the Study

The words “equus” and “eques” are Latin expressions for a horse and a knight respectively. These are the two terms from which the word “equestrian” is formed (Houghton, 2011). The term is generally used to describe an expert horse rider or any activity having to do with horseback riding, (Turnbull, 2010).

On the other hand, the equestrian form is distinctively described within the sculptural field to mean a statue of a rider mounted on horse (Moore, 2011). There is a psychological unity involved in equitation which has broadened it beyond an ordinary physically mounted horse into a devoted union between man and horse.

In support of this, Blake (1975), Summerhays (1952) and Collins (2012) all together establish that harmonious association and understanding between the rider and the horse are highly essential elements of the horsemanship.

Therefore, the horsemanship probably implies the general exercise of a full control over the horse including an excellent knowledge and care of the horse and the riding equipments, along with a good understanding of its physical, emotional and social behaviours.

From the outset, the equestrian components had remarkably been a creative voice through which communication with the supernatural was exchanged. This is why Janson and Kerman (1968) reveal that the cave art comprises largely of animals which were beyond the physical and also regard the pre-historic artists as „‟artist-magician‟.

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