Bronze casting is one of the few occupations where, despite technological advances, the aspect of original craftsmanship is preserved.

Art foundry TEP uses the method of cire perdue or lost wax. First a plaster mould is made from the original statue. This negative model is used to make a wax model. The wax model is hollow and about 3 to 4 mm thick like the bronze statue eventually poured in its place. TEP's castings are light and of the best possible quality.

After the wax model has been cast, it is filled up with fire clay and corrected or 'retouched'. Then the wax ducts  or 'gates' are set in place. They serve as channels along which the metal flows to the surface of the statue when it is cast. With larger statues, wax ducts are placed inside the statue, thus avoiding marks on the surface of the castings.

The wax model is covered with a layer of fire clay and the new mould is placed in a special kiln where the process of melting off the wax takes place using heated air so that the statue doesn't crack.

When the wax has melted the moulds are removed from the oven and they are tightened with steel bands. Then the statues are cast: liquid bronze is poured in the place of the melted wax. TEP uses the same alloy an the ancient Greeks did, i.e. 85% copper, 5% tin, 5% lead and 5% zinc, which produces a very high quality red metal.

After the casting the mould is broken to reveal the bronze statue. When a piece is cast in components, the parts need to be welded together. TEP use4s the exact same alloy for welding as for casting so that no marks remain visible on the statue. The sculpture is then chased: the metal surface is worked on to attain its final appearance. Finally, the statue is colored with a patina.

TEP carries out its work with great care and craftsmanship so as to reinforce the artist's original sculpture with a new meaning in bronze. Thanks to the foundry's efficient organization  and technical know-how, both the cost of casting and the time needed are kept to a minimum.

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