The Mark of the Sculptor

The Sculptural Practice of Edward Waites
März 1, 2026

Edward Waites has worked with Gladwell & Patterson since the age of twenty-one, developing into one of Britain’s most accomplished sculptors of equestrian and wildlife subjects. Entirely self-taught, Waites approaches sculpture through direct observation of animals and a deep understanding of their structure and movement. His works depict the vitality and physical presence of powerful creatures, from thoroughbred racehorses to the wildlife of the African plains. 

  • Edward Waites; Charging Rhino

  • Raised in Newmarket, Suffolk — the historic centre of British horse racing — Waites grew up surrounded by horses and the culture of the training yards. This environment shaped his fascination with equine form and movement, providing a foundation for a sculptural practice that remains rooted in close observation of anatomy. His sculptures capture the distinctive character of individual animals, whether portraying celebrated racehorses such as Dubawi and Makfi or studying the form of antelope, big cats and other wildlife.

    What distinguishes Waites’ work within the contemporary sculpture market is the intensely physical nature of his process. At a time when many sculptural practices rely on digital modelling, fabrication studios or extensive delegation, Waites remains closely involved in every stage of production. Each work begins in clay, modelled directly by hand over a metal armature before being cast in bronze through the traditional lost-wax method.

  • A defining characteristic of his sculptures is the presence of the sculptor’s own marks across the surface. Rather than polishing the bronze into a perfectly smooth finish, Waites often leaves traces of the modelling process visible. Finger marks and tool marks remain embedded within the bronze, creating a textured surface that records the movement of the sculptor’s hand. This approach preserves the immediacy of the original clay model and gives the finished work a sense of vitality and movement.

    This quality is particularly striking when combined with the anatomical precision of his subjects. The modelling retains a tactile, almost spontaneous character, yet the underlying structure of the animal remains carefully observed and accurate. Musculature, bone structure and posture are all rendered with remarkable clarity, demonstrating the artist’s deep familiarity with his subjects.

    Waites works closely with a foundry in Suffolk that casts his sculptures using the ancient lost-wax process. After the clay model is completed, moulds are taken and the work is cast in bronze or occasionally silver in limited editions. The process requires patience and technical skill, with each sculpture taking several months to complete before receiving its final patina.

  • "I adopt a very hands-on approach from start to finish with my work, from the miniature pieces you can hold in the palm of your hand to the nine-foot horse head in the making this year," the artist explains. "I think it's vital to be heavily involved in the whole process and I work on every stage from armature to finished bronze"

  • Over the course of his career Waites has attracted an international following, with works held in distinguished public, corporate and private collections worldwide. Notable commissions include sculptures for the late Queen Elizabeth II and the Duke of Edinburgh, the ruling family of Dubai, Lord and Lady Bamford, the Bhartia family, Ivan Massow and Ben de Lisi.

    Today Waites continues to create sculptures ranging from intimate studies that can be held in the hand to monumental works intended for landscape settings. Across these scales the defining feature of his work remains constant: a direct, physical engagement with the material and a sculptural language that records the presence of the artist’s hand while capturing the enduring strength and character of the animal form.