Deborah
Butterfield
Deborah Butterfield,
American, born 1949
1990-91, Bronze, 80 x
28 x 112 inches
Collection of the
Modern Art Museum of Fort Worth, Fort Worth, Texas
About the Artist
Deborah Butterfield's life in
Bozeman, Montana, is very much involved with horses.
She trains horses to compete in the demanding sport of dressage (dre-sazh). During
dressage competitions, riders guide their horses through a series of walk, trot, and
canter movements without any obvious use of hands or reins, directing the horse mainly
with leg and seat signals. The horse's movements must be smooth, precise, and graceful,
and the spectators should not be able to see the rider's signals to the horse. During the
competition the movements are performed in a specific order.
Two or more officials seated in
various places around the ring judge the contestants. The judges give riders and horses
points for the performance of each movement and also give penalties for errors. When the
performance is finished, the points for all contestants are totaled and the one with the
most points wins the competition. The techniques used in this type of competition were
originated by military officers who rode horseback. Because they had to use their hands to
hold weapons, they gave signals to their horses with their legs and by shifting their body
weight.
Since Deborah Butterfield develops
an extremely close relationship with the horses she trains, she understands these animals
in a way that only someone deeply involved with them can. For more than 15 years horses
have been the only subject of her sculpture. Butterfield has built horses from many
materials, from mud and sticks to rusty scrap-iron and bronze. She has used automobile
parts, parts from motorcycles and other machines, and a variety of scrap-metal pieces.
About the Art
For this sculpture driftwood pieces
were gathered and then cast in bronze to be assembled in the form of a slightly
over-lifesize horse. Horses have been a traditional subject of sculpture in the history of
art. The horse has been important to man for travel, warfare, labor and sport.
Butterfield's horses differ from many of
the equestrian statues seen in city parks or plazas. Her horses are not ridden by heroes.
Hers are riderless and seem to represent a gentler, more domesticated animal. They
encourage us to think about the possibility of a relationship with a nature that is not
threatening or imposing, but is simple, noble, and compatible with humanity.
Additional Information
Sculptures are three-dimensional
works of art. They have height, width and depth. Paintings and drawings, on the other
hand, are two-dimensional works having the two dimensions of height and width.
There are three major ways to
construct sculptures:
- additive processes,
- subtractive processes, and
- casting.
Modeling and assembling are both
additive processes. Modeling is often done with clay, and as long as the clay is wet, the
sculptor can add on more and more clay to build the form desired. Clay can be pinched
outward, scratched with sharp tools, and sections can be cut away. Assembling is
accomplished when individual pieces are put together to form the sculpture.
Carving is a subtractive process and
involves removing material until the desired form is produced. Wood and stone are some of
the common materials used for carving sculptures.
Casting is the method of producing
sculpture that was used for Butterfield's Hina. Metals, especially bronze, are the
materials often used in casting. Bronze can be heated until it is an extremely hot liquid
and can be poured into a mold. Hina was cast by the lost-wax method, a complex
process that involves several steps. The basic steps in casting are as follows:
- The sculptor makes a full size model
of the intended sculpture in clay or plaster.
- A coat of synthetic rubber is used to
make a mold of the clay or plaster piece produced in step 1. The rubber is applied to the
model, and when removed makes an accurate mold of all the details of the original piece.
- The rubber mold is now an exterior
mold of the beginning model. It is coated inside with wax about 1/8 inch deep. The wax
layer is the exact shape and thickness at this point that is desired for the final metal
sculpture.
- The hollow space inside the wax layer
is filled with a plaster mixture that is allowed to dry. The rubber mold is removed from
the wax layer and many wax rods are attached all over the outside of the wax model. In a
later step, when the hot metal is poured in, these rods will become channels through which
the melted materials will flow out of the mold.
- The wax model, with its wax rods and
plaster core are covered with a layer of the same plaster that was earlier used to form
the core, and this whole piece is placed in a kiln. The heat of the kiln melts away the
wax (lost-wax) leaving an empty space between the inner plaster core and the outer layer
of plaster. The molten metal is poured into this space. The metal takes the shape of the
space once occupied by the wax. Sometimes it can take several days for the hot metal to
cool enough to be handled.
- The inner and outer layers of plaster
are removed, the rough spots on the sculpture are filed away, and the final piece is ready
to be cleaned and polished.
For the sculpture Hina,
instead of a clay or plaster model (step 1), Butterfield used pieces of wood to make her
full size model of the bronze sculpture she wanted to produce. When the rubber (step 2)
was applied to the wood, it made a mold that showed the exact texture of the wood.
Therefore, after the sculpture was cast, the finished piece had the same texture as the
original wood. |