1 - Creation
The complex process of creating and producing a lost-wax bronze sculpture takes several months.
It all begins in my studio, where I create my work by modelling clay or wax.
I then entrust my model to the foundry. A succession of highly technical stages follows, each requiring specific expertise: mould-making, wax casting and retouching, installation of the gating system, bronze casting, mould removal, fettling, chasing, and patina.
I am personally involved throughout the entire process, either directly or together with the skilled craftsmen in the workshops. Each stage is essential to the final result.
2 - Mould-making
A rubber mould is made from my original model in order to reproduce its impression, faithfully capturing its shape and texture.
The thin rubber layer is reinforced with a plaster or resin mother mould. This mould is then used to produce wax replicas faithful to the original.
3 - Creation and retouching of the wax model
I retouch the wax that has been prepared, correcting any minor imperfections or possible deformations. The final thickness of the bronze will match the thickness of this wax layer, a few millimetres only.
4 - Installation of the gating system & bronze casting
The wax model is surrounded by a system of gates and vents, then covered with refractory plaster and placed in a kiln heated to approximately 700°C. The wax melts under the heat, leaving a hollow cavity.
The casting then takes place — always a magical moment — as molten bronze, at nearly 1,140°C, flows into and fills the space left by the wax.
Once the bronze has been poured, the sculpture is left to cool and solidify. The mould is then broken away.
5 - Chasing
The chaser then removes the gates and vents surrounding the bronze sculpture.
He then works on the “as-cast” piece, an exact replica of the lost-wax model, which itself is an exact replica of my original sculpture.
Some of the very delicate parts of my sculptures are cast separately, using jewellery-making techniques, and are then reassembled with the precision of goldsmithing.
This stage is a four-handed collaboration with the chaser. I personally approve each of my pieces, and we make the necessary adjustments together.
It is at this stage that I sign my work and number it, and the foundry mark is applied.
6 - Patina
Using a blowtorch, the patina specialist applies various oxides, acids and pigments to the surface of the piece while it is heated. These successive layers give the sculpture its colour and tone.
The piece is then waxed, for protection and to stop the oxidation of the metal.
There is genuine dialogue with the patina specialist, working together to achieve the distinctive and unique tones that reveal the full richness and subtlety of the work.
