The word "component" comes from the Latin word "componentem,"which means "to put together" or "to place together." The term started to appear in English in the mid-17th century, initially meaning "a constituent part" or "an element of a system.” In line with the theme, Skimming The Surface, this panel will dig deeper to understand the transformative role of cast objects, emphasizing their integration into larger, more complex works. Moving beyond the traditional view of cast works as standalone pieces, we will delve into how panelists from diverse backgrounds use casting to express personal and cultural identities, activate large installations through the strategic placement of the cast object, and orient cast objects within the context of contemporary sculpture today. Finally, we will discuss the collaborative nature of creating mixed-media sculptures. This could involve partnerships between sculptors and other artists or specialists. To continue with this notion, we will address the difference between artists who cast their own work and those who collaborate with professionals, exploring issues of authenticity, craft, artist-as-curator, and the value placed on the artist’s direct involvement in the creation process versus collaboration. Through this panel, I aim to stimulate thought-provoking conversations, encourage artists, educators, and enthusiasts to push the boundaries of traditional sculpture, and embrace new methods and materials, thereby fostering a more diverse future for the field of sculpture.

How can we reduce barriers to participation by more diverse people in the team event that is a cast-metal pour? Pours should be enjoyable team events!  CSCIA conducted an extensive review in 2023, asking new and experienced casters what impeded them. Open-ended questions revealed an astonishing range of factors, many easily addressed. Some take more effort, but worth doing; it’s not just about heavy lifting of molten metal! 

Adjusting communications, process, team caretaking, and tools, we reaped benefits at our second public pour in 2024 (with 700 attendees!) Plus, a new printed handbook. 

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We are sharing our methodology, findings, and changes, and would like to hear how you tackle challenges and expand access to a broader range of pour participants.

This presentation explores how modern technologies—Virtual Reality (VR), 3D printing, mold-making advancements, and Augmented Reality (AR) are revolutionizing iron casting in sculpture. Traditionally, iron casting has relied on labor-intensive methods, but digital tools can now streamline design, mold making, and visualization. Virtual and Augmented Reality enables artists to sculpt and refine models in a virtual space before physical creation, reducing waste and enhancing precision. 3D printing allows for rapid prototyping and the production of complex patterns that were once impossible by hand. Advances in mold-making techniques, including CNC milling and 3D-printed mold

boxes, increase efficiency while maintaining craftsmanship. These technologies expand creative horizons while enhancing accessibility, sustainability, and innovation in iron casting. This presentation will demonstrate real-life examples and future opportunities

for sculptors to utilize digital tools in traditional metal casting.

This panel will detail some of the ways that the cast iron movement and community has been documented. Panelists will discuss individual efforts, as well as other means of capturing the collective history of contemporary cast iron.

While running a cupola, it tells you everything you need to know; you just have to learn to speak the language. You can see when it’s hungry, often hear if there is a problem, and be guided to make necessary adjustments. The easiest and most effective way to run a furnace is in cooperation with it, not inadvertently fighting against it. And, if you’re paying attention, you can give the cupola what it needs, which is reciprocity for all it provides. 

This is an open discussion, where different scenarios can be presented and addressed by whomever might have some insight. We can work through the fundamental vocabulary of how the furnace communicates: visual, auditory, rhythmic, etc. Participants can ask questions or describe something they have experienced, and the group can decipher what the furnace was trying to say. Together we will translate the language of the cupola.

After graduating from academic programs, casting artists often face the challenge of finding resources to continue their work. Without access to specialized equipment and

materials, creating artwork can become a significant hurdle. While some may attend annual pours at universities, many artists seek alternative spaces and opportunities to learn, work, and grow. This panel will explore organizations and programs that support sculptors in their post-graduation journey, offering access to equipment, mentorship, and a community of like-minded individuals. We aim to highlight resources and

initiatives that foster artistic growth and creativity outside traditional academic settings.

The Western Cast Iron Art Alliance (WCIAA) is a 501(c)(3) nonprofit dedicated to educating, demonstrating, and exhibiting cast iron art across the western U.S. and beyond. Since 2008, WCIAA has united a vibrant community of artists and sculptors, fostering creativity through installations, performances, and experimental works—all focused on cast iron. As we approach our 9th Biennial Western Cast Iron Art Conference in 2026, we continue to provide opportunities to learn, create, and innovate. Our dedicated board members ensure consistency while embracing growth and change. WCIAA invites all who are passionate about cast iron art whether through education, collaboration, or experimentation—to join the conversation. Where did we start, what have we learned, what have we shared, and what’s next? These questions drive our mission as we evolve and expand. Join us in celebrating the tradition of creativity and connection at the heart of WCIAA.

The combined skills of the ASU Foundry Program’s art and engineering students, supported by the University’s strong interest in innovation and sustainability and the technical partnership of UK furnace innovator Stephen Coles, has enabled the program to develop a crucible melt furnace that runs on new and recycled vegetable oil. This furnace attains temperatures capable of melting aluminum, bronze, and iron. The ASU Foundry’s proof of concept trials and early production runs utilized 13.5 gallons of soybean oil per 120-minute heat to produce 120 lb. of gray iron at 2,390 degrees Fahrenheit. After the initial melt additional pots of iron could be melted in around 60 minutes. Importantly, the furnace design eliminates the use of foundry coke-high in harmful emissions and particulates- in iron casting operations. The ASU team’s small production oil-drip furnace reduces the need for resource-intensive cupola/cupolette campaigns. The aim of this talk is to disseminate technical information upon the construction and running of a waste oil crucible furnace. The goal being to allow conference attendees to construct/convert and run their own waste oil furnaces. Ultimately helping the broader iron community to access cast iron in a more sustainable and economical means then current cupola technology permits.

What is it? How is it being used? Who is using it? Aerospace and other industrial foundries have been using 3D Sand Printing for decades. It has been available to the public for over a decade but hasn’t been promoted to many sculptors in the past. Come learn what 3D Sand Printing is and how you can use it. The basics of how the machines work will be discussed and there will be multiple examples shown in a presentation along with sample molds that will be poured. The limitations of the technology will be discussed along with the advantages 3D Sand Printing can offer an artist.

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Multiple 3D Printed sand molds will be available at the presentation for participants to examine. The 3D printed molds will be poured during the conference's production pour.

Stemming from Mary Neubauer's keynote talk at the recent Western Conference on Cast Iron Arts and Practices, this presentation discusses the crucially important hand-mind connection in the role of crafts and sculptural practices. In a time when many college and university art departments are closing or reducing funding to their school foundries and other “making” disciplines such as metalsmithing, fiber arts, and woods, the discussants propose that hand skills and tool usage are core to our human intelligence and even linguistic development, and that we neglect teaching handskills in our educational systems at our peril.  As beings who have hands and have used tools for millennia, the panel will discuss the ways that our creativity and intelligence are inextricably linked to our development and use of tools and our subsequent application of these skills to the high arts and crafts that define our humanity.

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Innovative Methods for Melting Iron, Part 1: Historical perspectives, past experiments, and the rise of the tilt furnace

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Innovative Methods for Melting Iron, Part 2: Waste oil and current cokeless operation

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These panels will focus on historical and current innovative methods for melting iron for function and sustainability. Both tilt and waste oil furnaces will be addressed with descriptions of the benefits, current designs, functionality, and future directions. Sustainability and safety of both designs and why to adopt this for future furnaces will be discussed.

Wax boil out of shells is a viable alternative to using fire and heat as a way to remove wax from ceramic shell. Having used this method for many years and tweaked and perfected the process they have had near 100% success rate with no blow outs or mold failures. This method is perfect for places where there is no exhaust, those who have environmental concerns, or who have small spaces where a burnout cannot be set up. As a bonus 100% of the wax is reclaimed. In this talk they will show their process provide a supply list and answer any questions folks may have.

This panel will explore the future of the International Conference on Contemporary Cast Iron Art (ICCCIA), focusing on key decisions regarding its next location, timing, and leadership. Featuring past organizers and leading artists, the discussion will evaluate potential host cities, considering regions with growing cast iron communities and venues that can accommodate large-scale sculptural work.

The panel will also address how global events may impact travel and participation, ensuring the conference remains accessible and inclusive. In addition, timing considerations will include aligning the conference with key art-world moments, such as biennales or major exhibitions, to maximize impact and visibility. Audience input will be encouraged to help shape the event’s future, fostering collaboration and innovation within the global cast iron art community.

Over the past decade artists have been exploring digital technologies to create their work and most often they are utilizing desktop PLA printers as the primary tool. Technology is moving fast and continues to develop as it relates to the foundry art practice for sculptors. New doors are opening for artists with wax infused 3D prints that are specifically designed for direct investment to casting with low emission burnout and superb detail. This new artist-centered practice creates a new arts and industry relationship giving artists the opportunity to create work on any scale, however they want to create a high-resolution scans of their sculpture to be made at any size. These new technologies allow artists to forgo the molding process by working digitally and having wax-infused patterns that are ready to shell. 3D patterns can also be created for sand casting. The same digital files can be used to create sand molds where your only pattern is the digital file. There are so many possibilities and this panel seeks to go beyond skimming the surface in a conversation that will open doors for artist.