SOMETIMES I worry that we are in danger of making some kind of God out

of communication. Of course it is both important and satisfying to be

able to express ourselves effectively by word of mouth and pen but has

the modern emphasis on the rather ponderous term ''communicative

skills'' frightened people away?

There certainly must be something wrong somewhere because self

confidence with regard to the spoken and written word has been stifled

in a great many people. I am constantly running across perfectly

articulate people who confess themselves shamefacedly to having no skill

with words.

The other day I was talking to someone who fits this category exactly.

''I'm not good with words. I have to work myself into them and sometimes

I am inarticulate. It takes years to develop skill with words.''

Thus spake Eoghan Bridge, in whom I have to say I detected not the

slightest suggestion of inarticulateness.

He has been commissioned by Cala Properties to provide an equestrian

statue to stand outside Rutland Court in the West End of Edinburgh. Such

a task is an enormous responsibility since it will be the first

equestrian statue to be erected in Edinburgh for 70 years -- and the

city's ninth.

Eoghan contrasts his imaginary lack of skill with words with his

instinctive skill with his hands and the need to create something that

can be looked at. ''I find it easier to communicate my thoughts and

feelings visually.''

There is more in the genes than is often admitted to. Eoghan had

inherited his clay modelling skills from his sculptor father who in

common with many parents, except for lawyers and doctors, did his best

to dissuade his son from following in his footsteps. All was in vain and

Eoghan progressed from working in clay to working his in favourite

medium -- bronze.

Not only does he specialise in bronze but, more unusually, he

specialises in equestrian statues. A mixture of things give rise to

this. He likes horses, he admires them visually and has a fascination

for their symbolism throughout history. The addition of a rider depicts

man's historical interdependence with the horse.

As a sculptor Eoghan likes to think big. His present commission gives

him exceptional pleasure because it will be large and it will be

displayed in the open air. Not only is this the perfect circumstance in

which to view a piece of sculpture, but it will be readily accessible to

the populous.

Eoghan dislikes elitism in art. ''It should not be necessary to have

an intellectual background to appreciate a work of art. Art should

attempt to cross new boundaries but be accessible to all, as a

successful piece should have something to say to everyone and should be

able to operate at several levels.''

Certainly an equestrian statue is something that everyone will feel

free to express an opinion of. This is at once a good and a bad thing --

good because it is important for the survival of art for people to

respond to it, bad because it will occasion such a lot of hot air.

It is a racing certainty, if you will give the equestrian pun, that

the people of Edinburgh will have much to say about any new equestrian

statue. Shortage of communicative skills will not be their problem. They

will consider that it's their city and their heritage and they will want

to talk about it.

Thus Edinburgh has double cause to thank Eoghan Bridge. They will have

a new statue to grace their city -- vital, powerful and blessedly

non-military, to judge from the model -- and they will have an artistic

topic to talk and write about that will keep them occupied for weeks.

Not bad for a non-communicator!