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The cover image of a wild stallion running free on the cover of Chad Hanson's book "The Wild Horse Effect: Awe, Well-Being, and the Transformative Power of Nature”
"The Wild Horse Effect: Awe, Well-Being, and the Transformative Power of Nature" is available for presale now and on sale March 11, 2025
 

EquuStyle: Who inspired you to become a photographer?


Chad Hanson: My grandfather loved cameras. I grew up watching him tinker with lenses and light meters. By the time I went off to college, it felt natural to think of the world as a subject, and to see our public land as art. I discovered “visual sociology” in school, an approach to the study of culture that uses photographs. Using photos for academic purposes put me in touch with the depression-era work of Walker Evans and Dorothea Lange. To this day, as a teacher, I still use their images in my courses. With regard to mustangs, though, it was the work of Kimerlee Curyl that inspired me early on. As far as I can tell, she has the best timing in the business.


During the workshops that I teach, on writing and photography, I often urge students to “find their heroes.” I believe there’s value in identifying, cultivating, and curating your influences. Still, at some level, it’s the face of nature that serves as the source of my inspiration. Wild horses stare at you from behind nature’s most charismatic faces, and I find the places where they live compelling too.


EquuStyle: A central theme in your book is "awe." Could you explain what "awe" means to you and how people can benefit from experiencing it?


A wild mustang stallion stands on grassy plains under a cloudy sky, looking strong and serene. Distant mountains are visible in the background. Image is from Chad Hanson's book "The Wild Horse Effect: Awe, Well-Being, and the Transformative Power of Nature”.
A wild stallion on the high plains of Wyoming

Chad Hanson: When I feel awe I am utterly struck by what’s in front of me. I experience a feeling of absorption in the moment. I actually become so absorbed that it’s hard to keep track of the moments as they slide from the future into the present. I enter a time-outside-of-time. I’m also set upon by the impression that I am a small part of a greater whole, and when I shift back to my normal mode of being, it’s with a heightened sense of gratitude.


My experience of awe is pretty common it turns out, and today, in places like the Greater Good Science Center, scholars like Dacher Keltner use modern techniques for measuring the chemical changes that occur when we feel blown-away. Levels of cortisol, the body’s stress hormone, tend to free-fall. Serotonin levels increase, giving rise to a sense of satisfaction. Most important to me, when we feel awed, the body releases oxytocin, a hormone that increases what we call pro-social tendencies. Under the influence of oxytocin, we grow kinder, more generous, and less self-centered. A whole body of evidence points to the psychological worth of awe, but the social benefits strike me as equally valuable.


EquuStyle: As a faculty member at Casper College, how do you integrate wild horses into your teaching?


Chad Hanson: I teach a short course called The Wild Horse Experience. The class includes two afternoons on campus. Then we load the vans. We head out to search for mustangs on a Saturday field trip. During the course, I share as much I’ve been able to learn about wild horses, but just as important, students describe their experiences with the horses in their lives, past and present. The course unfolds as a discussion about our relationships with horses, and then seemingly without fail, by the end of the class, the conversation shifts. Whether in the field, or in the van on the way home, we end up wondering out loud about American culture and values. In the end, The Wild Horse Experience always seems to turn into a dialog about our relationship to the natural world.



EquuStyle: Your words focus on honoring horses and giving them dignity. When it comes to wild horses, how do we treat them with dignity?


Anyone who shares their home with cats or dogs or horses knows that animals feel, show preferences, and possess personalities. In our barns and corrals, we bear constant witness to the intelligence, and sometimes the mischievousness of horses. We work with their idiosyncrasies. We teach them, and they learn. Day in and day out, domestic horses prove that they are both educable and capable of making independent decisions.


Ironically, for most of our history, when we studied horses in the wild, we tended to assume that their behaviors were instinctual and thus the result of biological impulse, as opposed to reason or choice-making. To this day, many biologists assume, “If you’ve seen one wild horse you’ve seen them all,” as if their behavior is simply patterned by “the force of nature.” Their actions: outside their control.   


I’m glad to say, in just the past few years, things have started to change. As a sociologist, I was thrilled to see, in 2021, a peer-reviewed article in the sciences suggesting that wild horses create multileveled societies. In the same year, a group of equine subjects in an Italian study passed the mirror-self-recognition test. Horses know who they are. More important, they know who they are in relation to others. We’re just beginning to understand the social relations that wild horses form beyond their immediate family bands. We need further research, of course, but it is becoming clear that mustangs engage in almost constant relationship-building. They likely identify as part of large-scale bonded groups. They can even create and acknowledge an extended clan. In my mind, each step we take to learn more about mustangs, their intelligence and their social lives, the more success we’ll find when it comes to convincing others to see their worth and dignity.




EquuStyle: What do you believe is the most effective way to change the way wild horses are managed?


Chad Hanson: As a general strategy, the Bureau of Land Management treats wild horses—legally defined as American icons and living symbols of the West—as if they were livestock bound for slaughter. In truth, we do not even afford them that level of decency. The BLM hires livestock companies with helicopters to chase and capture our mustangs. But in agribusiness, they only use choppers to locate animals. Business people would never order a helicopter to descend on a herd of stock. If we scared cattle with helicopters, they would run desperately, and potentially injure themselves in the process. We see cattle as having value (economic value) so we take steps to assure their safety. On the other hand, helicopter roundups in horse herds nearly always end with mustangs injured and killed. There are BLM staff that schedule roundup after roundup, knowing they can expect chaos, death and brutality.


The good news: people are like horses. We are not all the same. There are BLM staff members that appreciate mustangs. Within the BLM, there are men and women who would much prefer to use humane and affordable strategies to manage wild horses. I consider it my job, our job, to find those people and to work with them. They could use our help and cooperation is contagious. I am a proud member of a coalition of petitioners in a lawsuit aimed at stopping the complete elimination of two Wyoming herds, so I understand, when we are backed into a corner, we have to appeal to the nation’s highest authorities. But lawsuits come with high stakes, and consequences that we can’t fully control. Long term, I am committed to creating situations where wild horse enthusiasts and BLM staff can work together on behalf of our mustangs.



EquuStyle: In the current environment, with traumatizing helicopter roundups and holding pens, how can citizens effectively demand an end to the violence?


Chad Hanson: I encourage citizens and horse advocates to think big—bigger than we have in years. I am a fan of a concept called the “Overton window.” In short, the idea suggests that, at any given time, there is a window, of a certain size, that limits the number of solutions to public policy problems we see as “acceptable.” Thus, successful advocates “open” the window, stretching it in the direction of their interests. In other words, it helps to ask for more than what might seem currently feasible. It’s the only way to make a proposal that feels “unthinkable” today, turn into tomorrow’s “obvious” or “sensible” approach.


I would like to see a diverse coalition of citizens and equine advocacy groups wondering, in open and public forums, “Why don’t we have a Wild Horse National Park?” What about a series of, “Wild Horse National Monuments?” How about the identification of regions that we could call, “Wild Horse Commons,” in states with adjacent herd management areas? I’m talking about large and well-studied regions, home to genetically viable herds, managed on the range through non-violent, humane and affordable means. Everyone knows that suggestions on these lines will meet with opposition, but none of these proposals will ever come about if we don’t start the conversations.


In the long run, persistent efforts in these directions might bear fruit. And in the short term, discussions about expanding protections for mustangs hold the potential to pull currently “outlandish” ideas into the realm of the possible. If we shift the conversation toward hard-to-achieve goals, then suddenly, the reasonable (but currently out-of-the-question) suggestion to halt the helicopters and treat wild horses with dignity starts to feel like “common sense.”



 






All images Copyright Chad Hanson -all rights reserved. Cannot be reproduced for any purpose without permission from Chad Hanson.



A photograph of nine Horse Block Sculptures by English/Italian equine artist Susan Leyland who is featured in the Fall 2024 issue of EquuStyle Art & Travel magazine. www.equustyle.com
Leyland's Signature Style, Horse Block Sculpture

Susan Leyland, born in UK,1952, has been living in Italy since 1978 .


Since 2000, Leyland has pursued her passion for Art and Horses, making horses her subject matter and elevating them to an expressive medium in her sculptures.  She searches for innovative solutions in both shape and composition.


Susan Leyland is known for her signature style, Horse Block Sculpture, which is characterized by flowing horse shapes merging with rigorous geometric figures with straight and angled lines.




 

Equustyle: What are your most important sculptures?


Susan Leyland: A 1 1/2 life-size Public War Horse Memorial which stands on the roundabout in Ascot, UK, to recall the suffering of millions of horses, mules and donkeys during WW1. 2018


Describing the process of creating the work, in an article by ArtUK.org, Leyland said: "I spent four years from receiving the commission to finalising the bronze at Black Isle Foundry, Nairn, solemnly learning about the First World War, drawing more than 200 sketches, reading and searching the internet, so that the war was part of me to interpret and transfer feeling into the monument, not as an onlooker or outsider, and to be able to portray this solemn monument with the greatest dignity and esteem for those animals recalling their suffering and hardship."


The sculpture does not portray any type of breed or particular horse. It was made considering the human loss as well as other equines, mules and donkeys.


An installation I designed and modeled five life-size bronze horses that pull the chariot of the Sun God Helios was installed at SunWorld Bà Nà Hills Resort, in Dà Nang, Vietnam. in 2020. Grand Cascade is a cluster of more than 40 artistic sculptures with the theme of ancient Greek mythology.


According to the writer of “Bà Nà Hills Launches New Project Grand Cascade on April 30-May”in Vietnam Insider, Leyland’s sculpture is “The most prominent in the ensemble of golden statues at Grand Cascade is the central cluster of statues at the fountain, where the sun god Helios controls the chariot pulled by five steeds. Viewed from afar, viewers have the feeling that the horse’s hooves are pedaling the waves, flying, leaping forward.”


Equustyle: How did your upbringing in the UK influence you and subsequently your art?


Susan Leyland: My upbringing in UK was a happy one. I was born in Whiston, Lancashire in 1952 and grew up in England near Cambridge. My grandfather gifted me a pony at the age of 4, establishing my bond with horses. I liked to draw and paint from an early age and usually horses but only later in life discovered sculpture.


My  first drawing and sculpture exhibitions where held in 1998 and 1999. One year later, in 2000, I held a solo show in Saratoga Springs, NY. The success of these exhibitions led me to take up sculpting full-time.


Susan Leyland, artist and sculptor in her studio in Tuscany.  equustyle.com
Susan Leyland, artist and sculptor in her studio

Equustyle:  Where do you work?


Susan Leyland: I work quietly and long hours in my Tuscan studio, an old stable, in the olive but I also love the excitement of travelling, exhibitions and meeting people. I have just returned from UK where my bronze and clay sculptures were exhibited at Gallery 8, St James’s, London, where six sculptures found new collectors.


Equustyle:  What is the process behind your sculpture?


Susan Leyland: I search for new ideas and elaborate the ideas by drawing and study sketching. I am inspired to explore and experiment, searching expression in innovative form from what I see and feel within.


I begin with a design, decide the size, make the base, the horses are then added and the forms take shape. Work on a sculpture can take a week to two months, depending on the size and the number of horses. The piece has to completely dry out before firing which can take another month. The sculpture is fired in a furnace for a week reaching over 1000 degrees



Equustyle:  What materials and techniques do you use for your sculptures?


Susan Leyland: I work in a coarse semi refractory water based clay, difficult to work with but beautiful and resistant to breakages when fired. I also work in other materials such as wax, non water based clays, polystyrene for enlargements, and in bronze.



Equustyle:  Who are your clients and where can people see your work?


Susan Leyland: My clients are from countries world wide, art lovers as horse lovers alike. My work can be found in the UK, USA, Canada, Thailand, China, Australia, Italy, Russia, Sweden, France, Germany, Switzerland, Portugal, Asia and Arab countries.


My work can be seen in Italy at the Barbara Paci Gallery, Forte dei Marmi & Pietrasanta, the Brancacci Gallery, Florence and in Germany the Kunstgalerie Bech. My work is represented worldwide by Alan Kluckow Fine Art, Sunningdale, UK. She exhibits in the UK with The Country House & Stables Gallery, the Osborne Studio Gallery and the Norton Way Gallery.


Recent exhibitions took place at Gallery 8 London and Country House & Stables, Berkshire UK.


Equustyle:  What are the best ways for potential clients to connect with you?


Susan Leyland: I would ask anyone interested to look at my website www.susanleyland.com and Instagram Susan Leyland, to be able to see and understand my work in more depth.

Direct contact can be made via email susan.leyland@gmail.com or Instagram Message.


 

More About Susan Leyland's Horse Block Sculptures


Susan Leyland is known worldwide for her Horse Block Sculpture. Her work is met with international acclaim by art collectors as well as horse lovers for their uniqueness in form and concept as well as for quality, harmony and beauty.


Horse Block Sculptures are of original aspect. Her horses blend with the bases creating a flow of shapes and negative spaces. The bases are often architectural, geometrical, pedestal like or they ground the work with simple rectangles, squares or spheres.


Leyland undertakes preparatory studies before starting to work on her sculptures. A clay sculpture can take two or more months to make depending on its size and complexity . When a sculpture is concluded there are precise drying times to follow, after which, when completely dry,  it is fired at MITAL terre-cotte works Impruneta.


Susan Leyland’s sculptures are unique and original pieces, modeled in a semi-refractory artistic clay or made in bronze and come with a certificate of authenticity.










Editor's Note: Sleeping Horse is a Horse Block Sculpture by Susan Leyland that I discovered over two years ago. I was immediately taken with the beauty and artistry of her equine sculptures.


Sleeping Horse by Susan Leyland a Horse Block Sculpture measuring 48x26x12 cm.  equustyle.com
Sleeping Horse by Susan Leyland

Updated: Jun 10, 2024

Sandy Sisti advocates for the innate wildness of all animals and their need to be free


A photograph by wild horse photographer and advocate Sandy Sisti of the wild mustang stallion, Mesquite, surveys the grand landscape of McCullough Peaks Herd Management Area outside Cody, Wyoming
"The Black Stallion" The wild mustang stallion, Mesquite, surveys the grand landscape of McCullough Peaks Herd Management Area outside Cody, Wyoming

EquuStyle:  What is it about wild horses that captivates you?


Sandy Sisti: Initially, I was taken in by their beauty. All horses are beautiful, but there’s just something about the wild ones. No matter how many times I see wild horse herds gallop past, their beauty alone never fails to bring me to tears. Once I began spending time with wild horses, I found that it was their toughness and their incredible ability to survive in the toughest of circumstances that really captured my heart.


EquuStyle:  Can you describe what it’s like to spend time wild horses?


Sandy Sisti: There’s nothing quite like spending time with wild horses. I find the experience to be very peaceful. When I’m upset about something, spending time with wild horses always makes me feel better. They really do have a calming influence. Most wild horses in Wyoming live in areas that are difficult to access, so you’re usually alone with the horses and I really enjoy that type of solitude.


A photograph by wild horse photographer and advocate Sandy Sisti of a cute little colt was born in early September 2021 to the mare, Theya, and her band Stallion, Tahlequah. Like all newborns, he barely left his mother’s side, but that will change as he gets older.
"Lean on Me" This cute little colt was born in early September 2021 to the mare, Theya, and her band Stallion, Tahlequah.

EquuStyle:  How did you come up with name of Wild at Heart Images?


Sandy Sisti: I always liked the phrase “wild at heart”, especially after reading Tennessee Williams “A Prayer for the Wild at Heart…” while in college. To me it captures the idea of wanting to do something out of the norm, something that isn’t expected of you. The phrase also reminds me of the innate wildness of all animals and their need to be free. Now that I’m focused on wild horse photography and advocacy, the name really seems to fit.


EquuStyle:  How did growing up on Long Island influence your craft?


Sandy Sisti: Although there wasn’t much wildlife where I grew up, I always had a camera in hand and photographed whatever animals were around. This included our family pets, along with butterflies, birds, small mammals, and the turtles that frequented our local ponds. Once I started driving, Heckscher State Park and Jamaica Bay Wildlife Refuge were two of my favorite spots for photographing whitetail deer and birds. Although I didn’t go there often, the Bronx Zoo was my favorite place to visit as it exposed me to nature and wildlife that I would never see in my neighborhood.


EquuStyle:  Did you grow up with or around horses?


Sandy Sisti: Unfortunately, I didn’t grow up around horses, but was always crazy about them. I grew up in suburban Long Island, and there weren’t many, if any, horses in the area. My best friend attended horse camp one summer, but my mom wouldn’t allow me to go with her because she was worried that I’d get injured. I did finally start riding, but not until I was an adult.


A photograph by Sandy Sisti wild horse photographer and advocate of when you hear the sound of whinnying and thundering hooves and see a cloud of dust appear on the horizon, you know a herd of horses is galloping past.
"Summer Thunder" When you hear the sound of whinnying and thundering hooves and see a cloud of dust appear on the horizon, you know a herd of horses is galloping past.

EquuStyle:  Did you ever formally study photography? If so, where? 


Sandy Sisti: I never formally studied photography, but always considered photography one of my favorite hobbies, even as a child. When I was attending SUNY Stony Brook as an undergraduate, I was a fine art major (drawing, painting) before switching my major to Biology/Biochemistry. After working in the sciences for many years, I returned to the fine art field as a photographer.


EquuStyle:  How was your professional career impacted after being published in National Geographic and National Geographic Kids magazines?


Sandy Sisti: At the time of these publications, I was mainly focused on wildlife photography in the Greater Yellowstone Ecosystem. Being featured by National Geographic helped me to become more well known as a photographer and led to more clients using my work for print publications.


EquuStyle:  What was your experience like when you were honored by The Smithsonian for your image “Surveying the Kingdom”?


Sandy Sisti: It was an incredible honor for my work to be recognized alongside many of the nature and wildlife photographers I looked up to at the time. I visited the Smithsonian a few years prior to receiving this award and made a point to see the Nature’s Best Photography/Windland Smith Rice International Awards exhibit. Even then, I never thought a picture I had taken would ever hang in the Smithsonian. It’s still unbelievable when I think about it.


"Battle at Red Rock" is a photograph by Sandy Sisti wild horse photographer and advocate. The pinto stallion, TNT Dynamite, lunges at band stallion, Kiamichi, as they near the edge of a steep cliff.
"Battle at Red Rock" The pinto stallion, TNT Dynamite, lunges at band stallion, Kiamichi, as they near the edge of a steep cliff.

EquuStyle:  Which creative individuals have most influenced your work?


Sandy Sisti: When I began pursuing photography seriously, I focused mainly on wildlife photography. At that time, world-renowned nature and wildlife photographer, Thomas D. Mangelsen, was my greatest influence. I studied his style and incredible body of work and was really taken with his images of grizzly bears. Grizzly bears became my favorite subject, as well, and I spent more than ten years focused on bears, as well as, the other megafauna living in the Greater Yellowstone Ecosystem.


At the same time, I was also photographing the McCullough Peaks wild horses, who would eventually become the main focus of my photography. The incredibly talented and internationally recognized horse photographer, Carol Walker, was a big influence on my photographic work with wild horses. Over the years, Carol became a cherished friend. These days, I continue to look up to Carol, not only in her work as an amazing artist, but as a powerful and unwavering advocate for wild horses.


"Black Beauty"  is a photograph by Sandy Sisti wild horse photographer and advocate. Frigid temperatures and frozen fog make foraging difficult for the horses in winter. This mare, known as Black Beauty, kept busy hunting for dried grasses under the deep snow.
"Black Beauty" Frigid temperatures and frozen fog make foraging difficult for the horses in winter.

EquuStyle:  Do you have a safe distance that you maintain when photographing wild horses? 


Sandy Sisti: The requirement at McCullough Peaks is to stay at least 300 feet from the wild horse herds, and I do my best to comply with that. I usually don’t get any closer than 100 feet to any other of the more approachable wild horses. Many of the wild horses in Wyoming, run off when they hear a vehicle approach, so I photograph them from my vehicle or from a great distance with a super telephoto lens.


EquuStyle:  Have you ever found yourself in a precarious situation with a wild horse?


Sandy Sisti: In all the years I’ve been photographing wild horses, I’ve never found myself in a precarious situation.


EquuStyle:  Why is advocating for wild horses important to you?


Sandy Sisti: If we don’t continue to advocate for wild horses, in time there will be no more wild horses on our public lands, only livestock. This year, the Bureau of Land Management (BLM) plans to remove more than 10,000 wild horses from public land with the majority of these horses moved to long-term holding facilities where they will live out the rest of their lives.


"Thunder and Lightning" is  a photograph by Sandy Sisti wild horse photographer and advocate. Lead mare, Taboo, guides her band to a nearby draw as a fast-moving thunderstorm hits the range.
"Thunder and Lightning" Lead mare, Taboo, guides her band to a nearby draw as a fast-moving thunderstorm hits the range.

Currently there are more than 60,000 once wild horses stockpiled in long-term holding. If the BLM has their way, this eradication of wild horses will continue. I don’t want to live in a world without wild horses and I know I’m not alone. That’s why I continue to advocate for them.


EquuStyle:  Do you believe social media posts are effective for changing the hearts and minds of people about the need to protect wild horses? 


Sandy Sisti: Social media is a very effective tool to help educate people about the plight of our wild horses. The majority of Americans have never seen wild horses and many don’t even know they exist.


Through the use of social media, we can inform people about the BLM’s terrible mismanagement of our wild horses. In time, many of these people will begin to care about the wild horses and some may eventually become advocates. I’ve seen this happen many times thanks to social media.


 "God of Thunder" is a photograph by Sandy Sisti wild horse photographer and advocate. The stallion, Thor, postures towards a rival stallion intent on stealing his mare, Shakira.
"God of Thunder" The stallion, Thor, postures towards a rival stallion intent on stealing his mare, Shakira.

EquuStyle: How has your influence on social media helped with fundraising and motivating people to take action?


Sandy Sisti: I believe that the more people learn about the McCullough Peaks wild horses, the more they care about them.


Sharing stories and photos of these horses on social media gets people involved in their lives and over time they develop a real affection for them. The deep feelings people have for the McCullough Peaks wild horses motivates them to want to help them when they can, with donations, petition writing, etc. Many people who contact me about the McCullough Peaks wild horses have never seen them, but they know everything about them and care about them just as much as I do. Without social media, I don’t think this could happen.


EquuStyle: What would you like people to know about the McCullough Peaks wild Mustangs?


Sandy Sisti: The McCullough Peaks herd is a small population of wild horses that have been effectively managed with PZP immunocontraceptive vaccine since 2011.  Thanks to the use of PZP, their average yearly population growth rate has held at 2% for the last ten years. Because of this, there had been no roundups since a 2013 bait trapping operation where 20 young horses were removed.


"Ice Dancer" is a photograph by Sandy Sisti wild horse photographer and advocate. Graceful as a dancer, the black stallion, Chippewa, makes his way through the fresh snow early on a December morning.
"Ice Dancer" Graceful as a dancer, the black stallion, Chippewa, makes his way through the fresh snow early on a December morning.

During the winter of 2023/2024, the BLM initiated a bait trapping operation at McCullough Peaks and permanently removed 40 horses aged from 4 months to 15 years. During the removal of these horses, nursing foals were taken from their mothers, families were torn apart, bloodlines were expunged and horses were injured. One horse, a yearling filly named “Kat Ballou” died from acute head trauma after running into the side of a holding pen while in the care of the BLM.


Now, more than two months after the conclusion of the bait trapping, the McCullough Peaks horses are still in disarray after the traumatic removal of their longtime family members. Although I’m heartbroken about what happened at McCullough Peaks, this happens every time the BLM rounds up and removes wild horses from their rangeland homes. The BLM destroys the horse’s families and the tight bonds that have been formed over many years of living together. In time, the McCullough Peaks wild horses will adjust as best they can to their new circumstances, but we can’t forget what happened to them as we continue our fight for not only the McCullough Peaks herd, but all the wild horses

.

EquuStyle: Are there particular horses in the McCullough Peaks herd that you have come to know and they recognize you?


Sandy Sisti: I’ve spent thousands of hours with the McCullough Peaks wild horses in the 15 years I’ve been observing and photographing them. I don’t only photograph the horses when I visit, but I talk to them too. Because I’m an almost constant fixture on the range, I believe that many of the horses recognize my voice and scent. It would only seem natural that they would.


A photograph by Sandy Sisti wild horse photographer and advocate of "Stormborne. The stallion, Washakie, rears up to protect his newly acquired family from curious bachelor stallions.
"Stormborne" The stallion, Washakie, rears up to protect his newly acquired family from curious bachelor stallions.

EquuStyle: What do you believe is the best way for people to advocate for wild horses?


Sandy Sisti: One of the best ways to advocate for wild horses is to contact your U.S. Representative and U.S. Senators to inform them about the plight of our wild horses. The only way to truly protect our wild horses is for Congress to enact new legislation to protect wild horses and limit the grazing of private livestock on public lands.


 






Freedom for Wild Horses with Carol Walker Podcast

Saving the McCullough Peaks Herd: Interview with Sandy Sisti




All images Copyright Sandy Sisti and Wild at Heart Images -all rights reserved. Cannot be reproduced for any purpose without permission from Sandy Sisti and Wild at Heart Images.


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