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Huenergardt credits much of his
success in completing the large scale pieces to his superb technical assistants and casting crew, men well versed in the art of enlarging the models and casting in the lost wax process. |
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| The production of just one large piece takes him well over a year since he personally creates the rough surface textures that mark his distinctive stallions and mares. |
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| Piece by piece, the segments are cast and then welded together until ready for the final patina. Along the way, precise engineering drawings guide the work, assuring both artist and crew that the finished work will appear to be one of a whole, flawless in its finality. |
The process begins by creating a full size
enlargement of the four foot maquette.
This photo shows the full size clay
recreation of Fandango next to the
bronze maquette.
enlargement of the four foot maquette.
This photo shows the full size clay
recreation of Fandango next to the
bronze maquette.
Molds are made of the clay sculpture;
into these hot wax is poured; the cooled wax
is dipped repeatedly in a ceramic slurry;
the resultant shell created around the wax is
placed in an oven at 1800 degrees,
disintegrating the wax and creating the
sculpted cavity into which the bronze is then
poured. This is called the Lost Wax
method for casting.
into these hot wax is poured; the cooled wax
is dipped repeatedly in a ceramic slurry;
the resultant shell created around the wax is
placed in an oven at 1800 degrees,
disintegrating the wax and creating the
sculpted cavity into which the bronze is then
poured. This is called the Lost Wax
method for casting.
Crating for shipping.
Craning Fandango onto a flatbed truck for delivery.