Unassuming at first, James is the kind of person you get to know slowly. Beneath a reserved exterior is a wicked sense of humor, a fiercely curious mind, and a remarkable kindness. For the past 20 years at Bollinger Atelier, he has brought all of that to his work as our lead metal chaser, approaching his craft with the same diligence that he brings to everything else. He is generous with what he knows, always willing to teach, and just as willing to keep learning himself. James is an exceptionally skilled artisan, a creative problem-solver, and, fortunately for me, a friend. After 20 years working here, he (finally!) agreed to an interview. There is still more to learn about James, but there is one thing I know for certain: Bollinger Atelier is better for having him here.

BA: What started your interest in arts/sculpture?

James: Oh dang! Easy questions first. Awesome. Ever since I could pick up a pencil, art was being created. Soon after that I had access to clay and plaster, not to mention building objects from junk found in the backyard. Growing up poor, it was amazing to me… Making beauty and luxury from nothing.  This was all before ever having an instructor.

BA: Ooh, what was your first instructor like? Or favorite?

James: I think I have to say in 10th grade, Mr. Scott was my first real art instructor at Mesa High School. That class was for jewelry making, but he was also a fantastic saddle maker. That time really set the course of my life. Truly, I’ve had plenty of instructors that stifled creativity and growth so I feel privileged that my most recent instructor, Sam Baar at the Miner’s Rock Shop in Tempe, has been my all time favorite. I took a couple precision gemstone cutting classes from Sam, and I can tell you – both his expertise and character are inspiring!

BA: How did you first start working at Bollinger? How’d you discover the company?

James: Oh, this is silly, even 20 years ago an ad in the paper seemed strange. A couple years out of highschool, my twin sister “clipped” the ad for me, with my high school jewelry background I never thought I had a chance at something so prestigious! …First month was cutting grass, sweeping, and hammering ceramic shell off of castings in 100 plus heat.

BA: Wow, you really have done a little bit of everything here… But I’m sure you found your stride in the metal shop sooner than later. Did you discover your talent for art by making work here, or did you seek out a creative job because you already loved the process of creating art?

James: Literally no other path, creativity and discovery have always been an endless way to learn more. I feel like many STEAM fields are this way, exploring art felt like a way to all STEAM, with heightened exploration and storytelling.

BA: Speaking of storytelling. You’ve kind of become the unofficial book curator for us here. What’s something you’ve read lately that you loved?

James: That’s probably more credit than I’m due, I started growing our small library of related technical books and shared a list of inspiring works of fiction. Since then others have added to both and now there’s even a bingo themed book club.

BA: What piece has been your favorite to work on, and why? (Yes, you can pick more than one).

James: Now this is a complicated question, could be tomorrow I might have a different answer.  Two that often draw me back are any of Carole Feuerman‘s life cast pieces (the detail is amazing, sure fingerprints and pores but also impressions in the skin where the swimwear has shifted.

Also…

 Xu Bing‘s bronze Phoenix birds.

… As a jeweler it’s a playground of craft and technique, so many parts, so many skill sets and the piece itself reminds me of growing up… making art with whatever could be found.

BA: What piece taught you the most?

James: Tom Otterness‘ Big Boy Playground is an easy one because I was so new to the craft at this scale, but truly, there’s something to learn with every piece of sculpture. I think being a craftsman in a specialized field anyone is going to try to push their own works further either to explore or to be ready for the next challenge.

BA: What have you picked up from working here that has found its way into your own art practice?

James: Hmmm that’s a thinker… style, aesthetic, the desire to make magic is all the same. I would say, hand in hand, I can now push more technical boundaries blending jewelry and sculpture.  Thinking big on this scale is certainly wild and different. Kat?

BA: I have to agree with thinking about scale differently… I really love seeing how you’ve combined the finesse and detail from jewelry making and stone cutting and polishing, and kept all of that consistent at a larger size. It’s already difficult enough to do well when you’re working small!

Tell me more about your art practice in general. What inspires you? How do you know you’ve got an idea that should be a drawing/painting vs. a 3D piece?

James: All depends, all depends. Ideas happen all the time but what I keep asking is “do I have the time?” Or similarly, “is this worth the time I have?” I find I have my best works and ideas when my emotions or sense of community are highest.

BA: I can’t take the credit for coming up with this question, but it was too funny not to include. Being that we’re in the Southwest… How many horse sculptures is too many?

James: One a month might be fine, one a week is fucked.

BA: What’s something unexpected you learned about fine art sculpture when you started working at a foundry?

James: There’s plenty of surprises! The one I can most accurately communicate is learning how diverse my fellow craftsman and artisan colleges can be. It’s wonderful to witness how a multitude of backgrounds enrich our collective expertise and quality.

BA: What are your favorite quirks about the Mulberry metal shop?

James: Oh, easy. Do you think “family” can be a quirk?

We’ve had some activity driven bingo events but also getting cakes to celebrate each other is heart warming.

BA: What advice would you give to your younger self as an artist and artisan? How about advice you’d give to someone wanting to work somewhere like this?

James: Read more books, honestly. I did it less then and a lot more now. That’s what it comes down to for a variety of reasons, whether it be walking in someone else’s shoes or learning more about a science and field that you’re interested in.

BA: Do you have any favorite moments or stories from working here over the last 20 years?

James: In this field the stories make themselves on the daily whether it be when something goes wrong and it’s a beautiful happy accident, or when they go right and it’s a huge feat of achievement. My absolute favorites are always going to be when a group of people come together and have that shared love for what we’re doing.

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A Fine Art Foundry’s Role in Preserving Public Art 

Bronze monuments are created to endure. While they are built to withstand generations of weather and public life, they occasionally require help to continue their story. Every restoration is an opportunity to preserve not only the sculpture itself, but also the legacy of the artists who first brought the sculpture to life.

The Rye Firefighter Memorial in Rye, New York is one such story. Originally created nearly a century ago, the monument has stood as a tribute to generations of firefighters and the community they serve. Its restoration allowed Bollinger Atelier to become one chapter in a much longer history of American bronze craftsmanship.

Creating a Bronze Memorial at Gorham Foundry (1920’s–1931) 

The Rye Firefighter Memorial was commissioned in the 1920s and dedicated in 1931. The sculpture was made by Frederic Victor Guinzburg before being cast at the renowned Gorham Foundry, one of the most respected American foundries of the twentieth century. Together, the sculptor and foundry produced a monument that would serve the community for generations.

While researching the memorial during restoration, our team discovered a photograph showing the sculptor standing beside the original work. Nearly one hundred years later, that image provided a connection between the artisans who first created the monument and those entrusted with preserving it today.

A Bronze Firefighter Memorial Serving Rye for Nearly a Century 

For more than ninety years, the memorial stood in Rye as a lasting tribute to the city’s firefighters. It became part of the community’s landscape, greeting generations of visitors while weathering the seasons.

Its longevity is a testament not only to the durability of bronze, but also to the craftsmanship of the original sculptor and foundry.

Bronze Sculpture Restoration After Severe Damage 

After a vehicle collided into the statue, the memorial sustained significant damage. During the course of its recovery, the sculpture experienced additional damage while in transit before ultimately arriving at Bollinger Atelier for restoration.

Our objective was to make the damage disappear.

Damaged sections were carefully realigned, re-fabricated when needed, and welded. Our artisans chased the repaired areas, recreating the original surface so that the intervention became nearly invisible. Finally, the bronze was re-patinated to the intended finish, restoring the monument’s visual appearance while respecting the original artist’s vision.

Continuing the Story

It is humbling to restore a sculpture created nearly a century ago. At Bollinger Atelier, restoration is more than repairing bronze. It is the responsibility of preserving the craftsmanship, history, and artistic vision embedded within every sculpture entrusted to our care. The Rye Firefighter Memorial now continues its story, ready to serve its community for many years to come.

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Public Art as a Gateway

Public art is often experienced as a finished object, but in practice it is the result of months of engineering, fabrication, and installation.
Installed beneath Drinkwater Boulevard in downtown Scottsdale, Breakaway transforms the underpass into a gateway to the city’s Arts District. As Tanya Galin, Public Art Manager for Scottsdale Public Art, described it, “Breakaway has a contemporary feel, yet it harkens back to Scottsdale’s slogan as ‘The West’s Most Western Town.’ There’s a bit of the old and the new, past and the present.

From Digital Design to Fabrication Reality

Inspired by the simple form of a rope, Breakaway is made of looping aluminum elements that move through the underpass in a continuous gesture. Grygutis chose the rope because it is a familiar object with many meanings, allowing each viewer to form a personal connection with the work.

The project began with Barbara Grygutis’ design, which was developed into digital models. These models allowed the full installation to be evaluated before production began.

Every curve was assessed not only for visual continuity, but also for how it would be cast, assembled, and installed on site. This process created a detailed guide to use during fabrication, and allowed the team to anticipate how the full piece would come together.

Rapid prototypes were then produced. These prototypes worked as templates for both sand casting and mold-making for the final aluminum components, linking digital development to traditional foundry processes.

Fabrication and Finishing

Once cast, the aluminum components were welded, fitted, and finished to maintain seamless transitions between sections. Joins and surface work were refined so the installation would read as a continuous form rather than assembled parts.

Installing Breakaway in Downtown Scottsdale

During installation, the aluminum segments were brought into position and assembled into their final configuration. As each piece was installed, the full experience of the work began to emerge.

What had existed as discrete fabricated components in the shop became a continuous gesture onsite.
The final installation shifts the experience of the underpass from a transitional space into a defined public environment shaped by rhythm, repetition, and flow.

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As an interactive public art installation and bronze playground sculpture, every decision in the casting and fabrication process prioritized durability, structural integrity, and a smooth surface finish. While the atelier has produced multiple iterations of the Big Girl and Big Boy playground sculptures, each version requires expertise in bronze casting, assembly, and finishing to ensure the work performs reliably in a public environment. (Take a look at a previous iteration of this piece here).

Casting Strategy: Scale Meets Precision

Creating a sculpture at this scale required a hybrid casting approach, tailored to the size and level of detail needed for each component. The largest elements, the arms, legs, and head, were produced through sand casting. This method is well-suited to handling parts with substantial size. Sand casting allowed for efficiency in producing the primary structural forms, where there are no small details needed. This approach was time-saving for the production crew as well, allowing for more time for finishing in the metal shop.

Sand mold used to cast the arms and legs of the playground

In contrast, smaller components, like the fingers and toes on the sculpture’s hands and feet, and parts of the accompanying “spinners” were cast using the lost wax process. This process is best for preserving the finer details that define the character faces and gestures. This combination of methods reflects a strategic approach to bronze casting: selecting the right process for each part, rather than forcing a single technique across the entire sculpture.

The result is a cohesive form that balances monumentality with nuance. It’s large enough to anchor the space, yet has hidden details to reward close interactions.

Chasing and Assembly

Following casting, each component needed extensive chasing and finishing. At this stage, the artisans have two objectives: to refine the surface and to prepare each element for precise assembly. Given the number of individual castings, fitment becomes a critical consideration. Every seam must align cleanly, both structurally and visually, to ensure the final figure reads as a unified whole.

Assembly is not just a matter of joining parts, it creates the overall continuity of the piece. Surface transitions are blended, welds are chased back, and the original design of the form is re-established across every junction. For a sculpture designed to be experienced up close and through touch, this level of finishing is essential.

Engineering for Installation

Assembling the bronze sculpture itself was just one part of the project. Beyond the finished piece, Big Girl Playground required a carefully engineered internal structure to support its scale and weight during shipment and installation. This meant anticipating how the sculpture would be moved, lifted, and assembled on site, ensuring that each section could be handled safely without compromising the integrity of the work.

Structural attachment points, weight distribution, and leaving enough access for installation crews were all considered from the start. Steel supports were carefully assembled within the existing structure of the bronze playground, giving the installation crew added stability and clear points to lift the piece up from.

This part of planning is invisible in the final piece, yet it plays a decisive role in the success of the project. With a sculpture of this scale, every aspect of the project is crucial to prepare for, even after it’s left our foundry.

Sculpture as an Open Invitation

View of Big Girl Playground in the metals shop at Bollinger Atelier.

For the atelier, Big Girl Playground highlights the full scope of large-scale bronze sculpture fabrication. From monumental bronze casting and precision assembly to expert metal finishing and transportation, every stage required careful coordination across disciplines. Designed as an interactive public art installation, the sculpture combines durability, craftsmanship, and foundry expertise to create a bronze playground sculpture built to withstand generations of use.

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Bronze is widely chosen for sculpture for its durability and longevity, but one of its most defining qualities is patina. Patina is the surface color that develops through environmental exposure or intentional treatment in the foundry. Whether applied by hand or formed naturally over decades, patina is a visible record of time, place, and material behavior.

Understanding how and why bronze patina develops helps artists, collectors, and institutions make informed decisions about appearance and long-term care.

Why Does Bronze Form a Patina?

Bronze is an alloy primarily composed of copper, with smaller amounts of silicon, tin, zinc, or manganese, depending on formulation. Copper drives patination, as it reacts with oxygen, moisture, and airborne compounds.

When bronze is exposed to the environment, oxidation occurs at the surface, forming new compounds that alter its color. Patina is not a coating applied on top of the metal, it is a transformation of the metal’s surface itself.

Natural Bronze Patina on Unsealed Metal

When bronze is left unsealed or lightly waxed, it gradually develops a natural patina. Early changes often appear as subtle darkening or uneven coloration. With continued exposure, especially outdoors, the surface may move through browns, deep reds, charcoal tones, and eventually greens or blue-greens.

This evolution is influenced by moisture and humidity, air pollution and sulfur compounds, proximity to salt (particularly coastal environments), and sun exposure. For many artists, this slow transformation is an integral part of the work, allowing the sculpture to visually integrate into its surroundings. In urban environments, atmospheric conditions can accelerate darkening and enrichment of surface tones.

Above: a chart of how bronze forms a natural patina over months and years.

Applied Bronze Patinas in the Foundry

Applied patinas are created intentionally in the foundry using heat and chemicals to achieve a specific color and finish. Sulfides, nitrates, oxides, and acids are commonly used to produce a wide range of browns, reds, blacks, greens, and blues.

Applied patinas allow artists to establish a defined palette at installation, emphasize texture and form, and maintain visual consistency across multi-part works. These surfaces are typically sealed with wax or clear coatings, though environmental exposure will still influence their appearance over time.

What Affects Patina Over Time

Whether natural or applied, a bronze patina continues to evolve. Outdoor environments introduce rain, snow, pollution, and UV exposure, all of which accelerate change and gradually degrade protective coatings. Changes may also come from frequent handling, which can wear down wax and polish high points, or horizontal surfaces retaining moisture. Maintenance practices also matter. Regular care slows oxidation, while neglect or aggressive cleaning can cause uneven wear.

Above: Comparison of what the Statue of Liberty likely looked like when made, and a current image.

Managing Patina with Intention

For most, goal with bronze sculpture is not to prevent change entirely, but to guide it in ways that align with the artist’s intent and the sculpture’s setting.

Outdoors, natural patination is often expected and welcomed. Maintenance focuses on stewardship. Annual gentle cleaning with mild soap and water, followed by thorough rinsing and drying, is typically sufficient. Abrasive scrubbing should be avoided, as it can remove stable patina layers. Periodic re-waxing helps ensure the surface ages evenly.

Indoors or on frequently handled elements, regular maintenance can slow oxidation and maintain consistency in tone. Dusting prevents buildup, while mild soap and warm water can be used for deeper cleaning if necessary. Abrasive, acidic, or ammonia-based cleaners should be avoided. Applying a museum-grade wax such as Renaissance Wax provides protection and a subtle, natural sheen.

Above: Tom Otterness’ Big Boy Playground at various stages. Left shows the piece at the foundry, center shows the piece at install, and right shows the piece after several years. Note how the color deepens over time.

Patina as Part of the Artwork

Patina is best understood not as a fixed finish, but as an ongoing interaction between the sculpture, its environment, and time. Whether carefully applied in the foundry or allowed to develop naturally, it tells the story of how a work exists in the world.

At Bollinger Atelier, we help artists consider bronze patina, sealing, and maintenance early in the process, ensuring these choices support both creative intent and long-term realities.

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In the world of fine art sculpture fabrication, timing, scale, and surface detail all come into play when enlarging from a maquette. While there is something to be said for making an enlarged clay-up by hand, it can be a time consuming and expensive process. Increasingly, artists are turning toscanning and3D printing for sculpture casting. This is especially true when a one-of-a-kind form, complex geometry, or digital intervention is required. While the traditional mold making process remains a cornerstone of the foundry, rapid prototypes made from castable resins are expanding the possibilities for sculpture projects with unique demands.

What is a Rapid Prototype?

A rapid prototype is a quick, physical version of a design, made using 3D printing, that helps artists and fabricators see how a sculpture will look and feel before it’s cast in metal. These designs can come from a scan of the sculptor’s maquette, or from a rendering that the artist created. When printed in a special castable resin or plastic, the prototype can even be used directly in the mold-making process, saving time while preserving detail.

Artists and designers turn to 3D printed castable resins when:

• A high level of precision is required for a one-off project
• A sculptor wants to mirror or modify a 3D scanned form
• There’s a tight turnaround and traditional enlarging and mold making may take too long

That said, 3D printing isn’t always the fastest route. Print queues, digital editing, and shipping from vendors can sometimes rival the timeline of traditional methods. For this reason, we often advise clients to weigh project needs carefully before committing. It’s important to have open lines of communication between the artist, foundry, and gallery or commissioner regarding timelines.

Real-World Use Case: Mirrored Armor Plates

A recent client came to us with armor panels for a figurative bronze sculpture, but only sculpted one side in clay. Rather than sculpt the mirrored half by hand, we scanned the original panel, digitally flipped it, and printed a castable resin prototype. This ensured perfect symmetry without doubling the sculpting time. Both the original clay and the printed counterpart were then molded, making it easy to reproduce the set in the future.

This is a great example of when 3D printing for sculpture casting enables both precision and time savings.

What Are These Printable “Waxes” Made Of?

Most castable prints we use are made from either PLA (polylactic acid) or PMMA (polymethyl methacrylate). Neither of these are “wax” in the traditional sense, but both can burn out cleanly at high temperatures when managed correctly. This means they are well suited to be used in our foundry’s lost wax process.

• PLA is a thermoplastic derived from corn starch or sugar cane. It burns out relatively cleanly, but can leave more residue than wax and may require kiln burnout adjustments.

• PMMA, often called “acrylic,” is used more frequently, and is widely available. You might see PMMA prototypes in manufacturing, and even healthcare settings. PMMA parts are more pliable than PLA, but offer extremely fine surface detail and leave little to no ash when burned out.

Both materials require a carefully controlled burnout cycle, and awareness during gating and shell coating, to make sure the casting process goes smoothly.

How Do Castable Resins Compare to Wax?

3D printed plastics handle quite differently than traditional foundry wax. They tend to be more brittle, which means they can crack under stress. Care needs to be taken when integrating both PLA or PMMA into a gating system. On the upside, their rigidity can be an advantage when maintaining precise lines or thin features.

From a casting perspective, both PLA and PMMA require specific burnout techniques to avoid shell failure. PLA needs a slower ramp-up to ensure full combustion. PMMA, when handled properly, provides some of the cleanest burnout results we’ve seen, but it’s also more expensive and delicate.

For most sculptors, traditional wax from a mold is still a great choice for production. But when precision, complexity, or symmetry are non-negotiable, castable 3D prints open up new possibilities.

Need Help Deciding?

If you’re unsure whether castable 3D prints are right for your workflow, we’re here to help. At Bollinger Atelier, we work with artists and institutions to guide each project through the best process, whether that means mold making, 3D printing a rapid prototype, or a combination of both.

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Hugh Hayden’s Freedman sculpture reimagines John Quincy Adams Ward’s 1863 sculpture The Freedman, one of the first American works to portray a formerly enslaved Black man as a self-possessed figure. Rather than replicate Ward’s original, Hayden transforms it: dressing the man in contemporary clothing and seating him in an Adirondack chair. The shift is quiet but profound—this is no longer a distant historical symbol, but someone who could be alive today. The piece asks us to consider: What does freedom look like now? Who gets to claim it, and how?

As fabricators, we don’t take this lightly. To cast such a work in bronze during a time of reflection and remembrance—especially around Juneteenth—felt deeply significant.

From Digital Design to Physical Form

The project began with a 3D scan of Ward’s original sculpture. Hayden then digitally sculpted new elements, including the clothing and chair. These additions had to be carefully integrated with the original posture and anatomy of the figure. We supported this step with detailed digital modeling, ensuring that the contemporary changes honored both Hayden’s vision and the integrity of the figure’s form.

Once finalized, the modified 3D file was translated into physical form using printable wax. This is a modern technique that allows for exceptional detail & continuity from digital to physical. From there, each wax section was cast in bronze using the lost wax method. This process, which dates back thousands of years, involves creating a mold around a wax form, melting the wax out, and filling the cavity with molten metal.

There’s something deeply resonant about using this ancient method to make a contemporary statement about Black identity and presence. Each stage—modeling, shelling, pouring, chasing—is a ritual of transformation.

The Impact of Patina

The final phase was patina: a carefully applied chemical finish that brings depth to the bronze. In this case, patina allowed us to subtly differentiate between skin, fabric, and wood textures—bringing Hayden’s updated vision fully to life.

Hayden noted that it was during this step that the piece truly came alive. He even joked that the shirt looked like one he owned. That moment—when an artwork becomes not just an object but a presence—is something we always strive for. With Freedman, it felt especially powerful.

Bronze as Witness

Casting a work like Freedman in bronze means inscribing it into the future. The material is unyielding, enduring. And so is the message: freedom is not static. It’s something we continue to define and fight for.

At Bollinger Atelier, we’re proud to bring works like Freedman into being with precision, and deep respect for their meaning. In honoring the past and reflecting the present, this piece speaks to what sculpture can do at its most powerful: bear witness, demand reflection, and endure.

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Whether you’re honoring a legacy, dedicating a public work, or adding a finishing touch to a sculptural installation, choosing the right type of plaque or lettering can make all the difference. At Bollinger Atelier, we offer high-quality options through our trusted vendors, including cast and etched metal plaques and cast and cut block letters. Here’s how to select the right fit for your project.

Cast Bronze and Aluminum Plaques: Durable with Dimensional Detail

Cast plaques are made by pouring molten metal—typically bronze or aluminum—into a mold. This traditional method yields a tactile, dimensional surface with raised lettering and borders.

Ideal for:

• Donor recognition plaques
• Outdoor historical markers
• Dedications or building signage

Features:

• Raised or recessed graphics
• Weather-resistant and long-lasting
• Custom shapes, borders, and background textures

Etched Metal Plaques: Clean, Detailed, and Contemporary

Etched plaques are created by chemically etching designs into flat sheets of metal like stainless steel, bronze, or brass. This process allows for extremely fine detail and a sleek finish.

Ideal for:

• Interpretive panels or museum signage
• ADA-compliant signs and tactile graphics
• Logos and detailed artwork

Features:

• Crisp, detailed linework and small type
• Custom color fills available
• Great for modern design applications

Cast Block Letters: Sculptural Signage with Depth

Cast letters are individually made by pouring molten metal into molds. The result is bold, dimensional lettering that brings a permanent, architectural feel to any installation.

Ideal for:

• Building names and exterior signage
• Public art text and titles
• Long-term, high-visibility projects

Features:

• Strong profiles and various finishes
• Fully weatherproof
• Custom fonts and letter sizes available

Waterjet-Cut Letters: Sleek and Versatile for Interior and Exterior Use

Cut letters are precision-made from sheets of metal using laser or waterjet cutting. They offer a crisp, modern look and are often used when budgets or timelines are tight.

Ideal for:

• Gallery or museum signage
• Business interiors and wayfinding
• Minimalist or contemporary designs

Features:

• Flat or slightly dimensional profiles
• Wide range of materials and finishes
• Lightweight and easy to install

Need Help Choosing the Right Plaque or Lettering Style?

From traditional bronze or aluminum casting to clean-lined waterjet-cut lettering, Bollinger Atelier can help guide you toward the best solution for your project. Whether you’re a public artist, architect, or institution, we offer expert insight and high-quality craftsmanship.

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It’s the stuff of ancient legends, timeless masterpieces, and modern marvels. Since humanity first unlocked the magic of metalworking, bronze has been the go-to material for artists creating sculptures that last. But what makes this humble alloy so extraordinary? Why do sculptors, from ancient civilizations to contemporary creators, continue to choose it over other metals? Many say bronze is the best metal for lasting sculpture – period.

We’ll explain what bronze is, why it reigns supreme in ths sculpture world, and how its unique properties—especially its ability to develop patinas—make it one of the most reliable materials for longevity.

What is Bronze, and Why is It a Sculptor’s Best Friend?

When you hear “bronze,” you might think of the Olympic medal or a deep, burnished color. But in the sculpting world, bronze is much more than that. It’s an alloy, which means it’s made by mixing different metals together. And while traditional bronze is a blend of copper and tin, at our atelier, we work with Everdur silicon bronze—a high-quality alloy that’s 95% copper, 4% silicon, and sprinkled with traces of zinc, manganese, and iron.

Why silicon? It allows the bronze to flow more smoothly when molten, resulting in sharper details when the sculpture is cast. Everdur bronze also has a beautiful golden-brown tone  that adds warmth and elegance to any piece. It’s perfect for capturing both classic forms and contemporary designs.

Why Everdur Bronze is best for Sculpture

If you’ve ever wondered why bronze has been the sculptor’s metal of choice for thousands of years, the answer lies in its unique blend of beauty, strength, and versatility. Compared to steel, which is harder to work with, or aluminum, which can lack heft and presence, bronze hits the sweet spot.

Here’s why:

• It’s Detail-Friendly: Bronze flows like a dream when molten, filling even the finest grooves and textures in a mold. This allows artists to capture incredible detail, whether it’s the folds of a cloak, the expression on a face, or the intricate patterns on a surface.
• It’s Durable: Unlike iron, which rusts and corrodes over time, bronze forms a natural protective layer, called a patina. This actually helps it withstand the elements. That’s why ancient bronze sculptures have survived for centuries, even millennia, and still look stunning today.
• It’s Timeless: Bronze isn’t just a material—it’s a statement. It carries with it a sense of history, permanence, and artistry that few other metals can match.

The Magic of Patina: Bronze’s Changing Surface

Now, let’s talk about one of bronze’s most incredible qualities: its ability to develop patina. Patina is the surface coloring that forms on bronze over time. It’s one of the reasons artists and collectors love this metal so much.

Left to the elements, bronze will naturally develop shades of green, blue, or brown as it reacts with the air and moisture around it. But at our atelier, we don’t leave things to chance. We treat patina application as an art form in its own right, using carefully controlled chemical treatments and hand-finishing techniques to bring out the best in each sculpture.

The possibilities are endless. You can opt for classic verdigris that evokes ancient statues, a rich brown that adds warmth and depth, or even experimental patinas with unexpected hues. No two patinas are exactly alike, which means every sculpture has its own unique character and story.

See our patina library here.

Combining Tradition and Technology: Our Artisan Approach

At our atelier, we’ve combined the age-old tradition of lost-wax casting with cutting-edge technology to give artists the best of both worlds. Using tools like 3D scanning & CNC milling, we can enlarge models, refine surface details, and create complex forms with precision. Because we approach every project with an artisan’s eye, we make sure that even the most high-tech processes are infused with craftsmanship and care.

Whether you’re a sculptor looking to bring your vision to life, or someone curious about how the casting process works, we invite you to explore the artistry of bronze with us. Contact our team to learn more about our casting services—and discover why bronze is the king of sculpture.

The post Everdur Bronze and the Art of Sculpture: A Perfect Match appeared first on Bollinger Atelier.

The process starts with an in-depth consultation with the artist. Understanding the artistic vision is key, along with discussing the final scale and identifying potential challenges. Some details in the maquette may need refinement before scanning, such as delicate textures or undercuts that may not translate well at a larger scale. Addressing these considerations early ensures a smoother transition to the final sculpture.

From Maquette to Monument: 3D Scanning to Capture the Detail

Once the maquette is ready, high-resolution 3D scanning captures every nuance. As the scanner sweeps over the sculpture, thousands of tiny data points are collected, mapping every contour and texture with astonishing precision. Multiple scans from different angles are merged to create a clean, watertight digital model. This process ensures that even the finest details—like fingerprint impressions in clay or subtle chisel marks—are preserved for the next stages of enlargement.

After 3D scanning, the digital model undergoes processing and scaling. This includes cleaning up imperfections, filling in missing areas, and ensuring structural soundness for casting. Adjustments by our digital artisans refine proportions, modify wall thickness, and reinforce delicate areas. Sculpting tools enhance features and textures to ensure the sculpture maintains its intended look at a larger scale. Before digital scanning, sculptors had to painstakingly recreate their work at full scale by hand, often losing some of the spontaneity of the original. Now, digital tools preserve the nuance, making the process more precise and efficient.

Larger Than Life Scale: Milling the Digital Model

For sculptures exceeding the milling machine’s capacity, the model is digitally sectioned. Careful planning ensures all pieces fit seamlessly once machined. Registration marks or dowel holes maintain alignment, while toolpath preparation optimizes material use and machining efficiency.

CNC foam milling brings the digital model to life in a tangible form. We use high-density polyurethane or EPS foam to carve out the enlarged sections with precision, minimizing the need for hand-sculpting. Then, our artisans make any small refinements as needed, to make sure the enlargement stays true to the artist’s vision. This faithful representation of the original maquette sets the stage for the next casting phases.

At our Atelier, these steps bridge traditional artistry with modern technology, seamlessly transitioning from small-scale model to large-scale sculpture. The digital processes of 3D scanning and CNC milling represent the future of the foundry. We allow artists to push boundaries with accuracy and efficiency. By using digital tools with traditional lost wax casting techniques, we honor the craftsmanship of the past while embracing the possibilities of the future. This fusion of time-honored techniques and cutting-edge technology ensures every bronze sculpture is both a tribute to tradition and a step forward in sculptural innovation.

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