Haddonstone And Amy Goodman Unite To Create Landmark Queen Sculptures
Both sculptures are raised on similar plinth arrangements, with two circular Portland stone steps above a cast Portland stone lower tier, expertly produced by Haddonstone.
As the manufacturer of the bespoke cast stone plinths for Amy Goodman’s Queen Elizabeth II "Sister Queens" sculptures in the Hampshire towns of Andover and Romsey, Haddonstone spoke to the artist about the importance of design, the collaborative process behind the commissions and the creation of two enduring public artworks which celebrate Britain's longest-reigning monarch.
Left: The Romsey Queen. Right: The Andover Queen
Why did you choose to work with Haddonstone on these commissions?
Haddonstone offered exactly the combination of craftsmanship, technical knowledge and flexibility that the projects required. Their cast stone allowed us to achieve the appearance and quality I was looking for while creating bespoke elements specifically proportioned to each sculpture. Their experience with architectural stonework also gave me confidence that the lower tiers would sit comfortably alongside the natural Portland stone and surrounding landscaping. It was important that the plinths felt refined and permanent, and Haddonstone helped us achieve that.
What qualities were you looking for in a plinth supplier when developing these projects?
I needed a supplier with experience, technical expertise and a very high standard of finish, but also somebody who understood the aesthetic importance of the plinth within a public artwork. The ability to work collaboratively was essential. These were bespoke designs with practical considerations around scale, weight, installation, durability and the relationship to the surrounding paving and architecture. I needed confidence that the finished work would be beautifully made, robust and appropriate for a significant public commission.
How closely did you collaborate with Haddonstone during the design and specification of the plinths?
It was a very collaborative process. The overall form and proportions developed alongside the sculpture and the site design, and there were several practical considerations to resolve in terms of dimensions, weight, fabrication, and installation. Haddonstone's technical expertise was invaluable in translating the design into something that could be manufactured accurately and installed safely, while still retaining the elegance and simplicity I wanted.
Pictured with the Romsey Queen: (left) Joe Blatchly, Haddonstone's Project Administrator, and (right) sculptor Amy Goodman
What were the key considerations in determining the height, scale and proportions of the Haddonstone plinths?
The scale of each location was extremely important. Town Mills Riverside Park in Andover is quite intimate, and there are already areas of circular paving within the landscape. The curved form of the plinth responded naturally to those existing shapes and helped the sculpture feel integrated rather than imposed on the space. The height was carefully judged so that the Queen retained a sense of presence while still remaining approachable.
For the Romsey Queen, I became particularly interested in circles, curves, rhythm and repeated architectural forms. The circular steps and lower cast stone tier follow the sweep of her Coronation robe and help carry that movement outwards into the surrounding paving. Those curved forms also subtly echo the arches of Romsey Abbey. Colour and material were equally important.
The yellows and greys within the paving were chosen to sit comfortably alongside the historic stonework of the Abbey and the surrounding surfaces. We also worked closely with heritage considerations to ensure the materials felt appropriate to the setting and sympathetic to its period. The positioning of the sculpture is very special too. Her Majesty is walking towards the main door on the north side of the Abbey and stands adjacent to the doorway she herself used on several visits.
Why was it important that the plinths complemented the sculptures rather than simply supporting them structurally?
Because the plinth is really part of the composition. I did not want the sculpture to feel as though it had simply been placed on top of a functional base. The lines, proportions and materials of the plinth needed to continue the visual language of the sculpture and respond to the surrounding architecture and landscape. When the relationship is right, sculpture and plinth read as one complete piece rather than two separate elements.
What role does a well-designed plinth play in how people experience and engage with a statue?
It can completely influence how approachable a sculpture feels. Many traditional Royal monuments are presented on very high plinths, which can create a sense of formality, grandeur and even a certain distance between the figure and the viewer. For these sculptures, I wanted something different. It was very important to me that visitors could walk up close to the Queen, experience the sculpture at a more human level and study the detailed imagery and inscriptions within the robes.
How important is the plinth in the overall success of a public sculpture?
The plinth is hugely important because it forms the transition between the sculpture and its setting. It must support the work physically, of course, but it also needs to feel visually resolved and proportionate. For both of the Sister Queens, I wanted the plinths to feel elegant, understated and harmonious within their surroundings, while also remaining achievable within the project budget.
How do the plinths help the sculptures sit comfortably within their respective surroundings?
They help anchor each sculpture to its location, both visually and physically. Rather than treating the plinths as isolated objects, we designed them to respond to the geometry, materials and character of each setting. In Andover, the circular forms connect naturally with the surrounding landscape design. In Romsey, the curves, stone tones, and proportions relate closely to the Abbey architecture, surrounding paving and the movement of the Queen's robe. That relationship was very important to me. I wanted both sculptures to feel as though they truly belong in their locations and had been designed specifically for those spaces, rather than simply placed there.
What impressed you most about Haddonstone's approach to the project?
What impressed me most was Haddonstone's adaptability and the team's willingness to respond practically as the project evolved. For the Romsey Queen, the footprint of the plinth was larger than that of the Andover sculpture, so Haddonstone proposed casting the lower tier in four separate sections rather than as one piece. I was initially slightly daunted by the idea, as I was concerned about how successfully the sections could be joined, but in practice it proved to be a very effective solution. Haddonstone supplied the appropriate mortar system, and stonemason Colin, from Colin Evans Fixings, did a fantastic job bringing everything together on site.The finished result is seamless.
How did Haddonstone's craftsmanship contribute to the final presentation of the sculptures?
I asked Haddonstone to follow the edge of the sculpted robe with a consistent 20cm margin around the figure. As the surface area was too large to scan accurately, I posted them a full-size template, which proved essential. Their technical precision in translating that template into the finished cast stone was extremely impressive. With a little back-and-forth between us to refine the shape, they reproduced the design with remarkable accuracy, and the finished result was spot on.
Why was Haddonstone's cast stone particularly suitable for these prestigious public commissions?
The extensive portfolio of high-quality architectural and public projects speaks for itself, and I had confidence in both the finish and durability of the material.
How important was it to work with a British manufacturer for a project celebrating Britain's longest-reigning monarch?
It was simply a real advantage to work with an established local manufacturer who could respond closely to the needs of the project.
For architects, landscape designers and artists considering public sculpture projects, what advice would you give on the importance of selecting the right plinth and partner manufacturer?
Consider the plinth from the earliest stages of the design rather than treating it as an afterthought. Its scale, material and relationship to the sculpture and setting are all crucial. And allow plenty of lead time; good design, manufacture and installation all benefit from it.
Conclusion
The Queen Elizabeth II "Sister Queens" sculptures demonstrate how effective collaboration between artist and manufacturer can enhance the success of public art. Through close partnership with Amy Goodman and the wider project team, Haddonstone's bespoke cast stone plinths provide a fitting architectural foundation for two landmark sculptures, helping to anchor them within their surroundings while ensuring their lasting presence for generations to come. www.haddonstone.com