The wax model needs to have wax rods which, when melted away, will become channels through which molten metal can be poured into the mould and excess metal and gases can escape.
Deciding on the optimum position for these rods is part of the founder’s craft and would have been something that Moore and Meadows would have learned during their casting sessions, probably through a combination of reading published texts and some trial and error.
From the ' Romdodern Artifact' series produced by DLEUCI Studio, the ' Venusi' art object appears like a beacon of hope and joy.
The piece folds space and time unto themselves, creating a...
This shift in practice was at least, in part, he later argued, a product of greater experience.
In this process the model is made from wax and is surrounded with a refractory, or heat resistant, material that does not change its dimensions when exposed to high temperatures.
In lost wax casting this material is usually called investment and is made up from plaster mixed with various additives, such as sand or ground ceramic.
Moore showed fourteen of his cast sculptures at an exhibition at the Leicester Galleries, London, in 1940. By working direct in wax, one was able to make shapes and forms much thinner and more open then ever you could have done direct in plaster.
Reflecting in 1960 on this experience, he commented that the knowledge he had gained in casting lead sculptures himself had allowed him to conceive of sculptures that were thinner in shape, knowing that the structural properties of the metal would support these more open forms:working direct in wax has many possibilities, since wax has a toughness about it that will allow you to do very thin forms ...