All Posts

Introduction In a sculptural work in bronze, finishing is not a purely aesthetic final gesture. It is a structural phase of the process, in which formal, technical, and conceptual decisions made long before the casting are consolidated.The way the surface is treated influences how the work is perceived, its relationship to light, the way it ages, and even its long-term preservation. This article examines the main types of finishes in bronze sculpture, aiming to clarify common

Introduction The scaling-up of sculptures is one of the most sensitive stages in sculptural production. Transforming a small-scale model—a maquette, a clay study, or a prototype—into a large-scale work involves much more than simply “increasing the size.” Scale alters the reading of the form, the weight, the structural behavior, and the relationship with space. This article examines the scaling-up of sculptures from the perspective of art fabrication, explaining why it requir

Introduction The introduction of 3D scanning in sculptural production has transformed the way artists and ateliers approach the transition between idea, model and final work. Far from replacing manual gesture or the sculptor’s sensitivity, three-dimensional digitisation has emerged as a supporting tool that allows greater precision, predictability and control — particularly in processes of enlargement, reproduction and technical adaptation. This article examines the use of 3D

Introduction A sculpture atelier is not simply a place where objects are made. It is a space of listening, interpretation and transformation. For many private clients, a first encounter with sculpture raises legitimate questions: how do you commission a work? Do you need to understand art? Can you simply explain what you like, or what you want to feel? At the Mão de Fogo Sculpture Atelier, we start from a simple principle: it is not the client who needs to “speak the language

Introduction The production of metal sculptures occupies a central place in contemporary sculptural practice. It is a field in which artistic intention, material, and technique intersect in a particularly demanding way. For many artists, metal is not just a material, but a field of decisions: weight, scale, surface, resistance, and behavior over time. This article seeks to clarify what it means to produce a metal sculpture in the current context, based on workshop practice an

Introduction In recent decades, resin has become a central material in contemporary sculptural production. Its formal versatility, relatively low weight and ability to capture fine detail make it a frequent choice in projects that require freedom of form, experimentation and process control. However, this apparent ease conceals a set of important technical decisions: type of resin, reinforcement systems, possible finishes and behaviour over time. This article explores resin s

Introduction The creation of life-size bronze sculptures representing people or professions occupies a distinct place in contemporary sculpture. These works do not rely solely on form, but on their direct relationship with the public: they are recognisable, approachable and inhabitable in scale. Often placed in public space or linked to historical, institutional or community contexts, such sculptures require a careful balance between fidelity, artistic interpretation and tech

Introduction Cast iron occupies a singular place in the history of artistic and decorative casting. Associated with the Industrial Revolution, public space, and utilitarian architecture, it was for a long time excluded from the discourse of contemporary art, in favor of metals considered more “noble.” Nevertheless, cast iron remains a material of great sculptural relevance, provided it is understood in its specific qualities. This article examines the use of cast iron in art

Introduction Stainless steel casting is less common in artistic sculpture than bronze or iron, yet its presence has been increasingly established in specific contexts of contemporary art. Associated with industry, engineering and architecture, stainless steel carries a set of formal and symbolic expectations that make it anything but neutral. Choosing it as a sculptural material raises clear questions: when does it make sense? What technical implications does it entail? And w

Introduction Aluminium casting occupies a distinct place in contemporary artistic practice. It is often associated with lightness, engineering and industrial production, which can lead to a reductive reading of its sculptural potential. However, aluminium offers specific material qualities that can be decisive in certain artistic projects. This article aims to clarify when and why aluminium casting makes sense in art, outlining its technical advantages, its real limitations,

Introduction Sand casting is one of the oldest processes for metalworking and is used both in industry as well as in sculptural production. In the context of contemporary art, it is often associated with terms such as robustness, scale or cost-efficiency, however it raises concrete questions: What level of detail does it allow? For which types of works is it suitable? Which technical compromises does it bring with it? This article aims to clarify the use of sand casting in sc

Introduction In art casting, the choice of metal is often treated as a secondary decision, when in fact it defines a large part of the character, durability and behaviour of the work over time. Bronze, brass, aluminium, cast iron and stainless steel are very different materials, even though at first glance they may fulfil similar functions. This article proposes a comparative reading of these metals, based on workshop practice, to help artists, architects and institutions und

Enquadramento da atividade da Mão de Fogo, a sua evolução e o seu valor cultural para Montemor‑o‑Novo Introdução Nem tudo o que funde metal é igual. A palavra “fundição” pode designar uma linha industrial em funcionamento contínuo, dedicada à produção em série, ou um atelier de escultura onde o metal é fundido apenas quando uma obra, longa e amadurecida, chega finalmente a esse momento decisivo. O gesto técnico é semelhante — aquecer, fundir, verter — mas o tempo, o significa

Introduction A sculpture atelier is not simply a place where objects are made. It is a space for listening, interpretation and transformation. For many private clients, the first contact with sculpture raises legitimate questions: how do you commission a work? Do you need to understand art? Can you simply explain what you like, or what you want to feel? At the Mão de Fogo Sculpture Atelier, we start from a simple principle: it is not the client who needs to “speak the languag

Introduction Lost-wax casting is one of the processes most closely associated with metal sculpture, particularly bronze. Although it is widely known, it still raises practical questions: when does it make sense to use it, what kinds of works truly benefit from it, and what are its implications in terms of cost, durability and formal control. This article addresses these questions from workshop practice, moving away from idealised interpretations and bringing the process close

Introduction Brass casting occupies a particular place among the metals used in art and decorative objects. Historically associated with ornamentation, architecture and the applied arts, brass is now frequently revisited by contemporary artists and designers. However, its use raises concrete questions: what kind of material presence does it offer? In which contexts is it technically appropriate? What are its limitations compared to bronze or other metals? This article aims to

Introduction In the production of contemporary sculptures and artistic projects, project management has become a structural dimension of the creative process. Larger scales, multiple stakeholders, demanding public contexts and defined timelines mean that the work is no longer just an artistic object, but a set of interconnected decisions unfolding over time. Rather than imposing rigidity, effective project management exists to protect artistic intent, create predictability an

Introduction The introduction of 3D scanning in sculptural production has transformed the way artists and ateliers approach the transition between idea, model and final work. Far from replacing manual gesture or the sculptor’s sensitivity, three-dimensional digitisation has emerged as a supporting tool that allows greater precision, predictability and control — particularly in processes of enlargement, reproduction and technical adaptation. This article examines the use of 3D

Introduction Speaking about bronze in sculpture as if it were a single material is a misleading simplification. In the practice of art casting, “bronze” refers to a range of alloys with very different behaviours in terms of casting, strength, finishing and ageing. The choice of alloy is neither neutral nor merely economic: it directly influences the integrity of the piece, its aesthetic reading and its long-term durability. This article examines the use of bronze alloys in ar

Introduction In sculpture production, logistics is often perceived as a final stage, almost external to the artistic process. In reality, it is a structural dimension that must be considered from the outset. Weight, volume, fragility, installation context and the journey to the final location all influence formal, technical and material decisions. A sculpture does not exist only in the studio: it exists in transport, in assembly, in the space where it is installed and in how