2 April 2026
Reflections is a quarterly series of interviews in which we look back with a Make advisor specializing in metal, glass, graphics, or CAD/CAM. We review special projects, gain deeper insight into specific techniques, and learn more about what advisors truly value in the creative process. We kick things off with Rino Sijen, Metal Advisor.
Written by: Pleuni van Keulen
Photography: Ruud Hermans
One of a kind
For years, Rino has been encouraging makers to create more unique works. This means making your work on-site from start to finish, without modelling it in othermaterials first. Rino explains what he finds so compelling about this approach. “The moment you only have one chance to get it ‘right’, a certain tension arises. You focus more, and try harder. A great example is Dieke Venema’s project. She created a unique sculpture directly in wax. When you then cast this sculpture using the lost-wax technique – or cire perdue – you truly have only one chance. And if it works out, you are left with just one single piece.”
Finding solutions that fit
Dieke Venema had 5 months for her project. She’d been a resident before and is highly experienced. For her recent work, she made a papier-mâché model, among other things. Rino: “That creates a significant risk of ash residue remaining in the cast. There is little we can do about that. So, we make holes in the casting mould and blow and suck out the ash through them.” Sometimes it comes down to finding solutions that fit the experiment.
His learning process
For Rino, working with artists is sometimes a learning process too. “With Dieke, we figured out together how to approach the work. That’s how you discover that things are actually achievable. I had a certain idea in my head about how it should be made. And she executed it. For both of us, there was a technical learning curve in that.”
Working on the edge
Dieke pushed the boundaries of what is and isn’t possible. Beautiful and exciting, according to Rino. “You can often achieve great work only by walking that fine line. If everything is technically perfect, it ends up looking like something an industrial foundry would produce. We make different choices, ones that are more on the edge. That’s what makes for the most interesting projects.”
Don’t go big right away
Rino observes that experienced artists working in the studio also inspire other creators. “You see someone working with a certain technique, and then you adopt it. Kevin Kim, for example, saw Dieke working on her large piece. He started by working on a model measuring about 20 x 30 cm. Then he came back with a larger version of it. But that turned out to be a lot harder, so it ended up collapsing.” People generally want to work on bigger and bigger pieces, according to Rino. “But that’s not necessarily the way to go. Artist Müge Yildiz, for example, cast a wooden animal figure in aluminium using a mould made of compressed sand. But it broke several times because of its size. You learn then that it’s sometimes better to make a small version first and not go big right away.”
Feasible measures for experienced makers
There is a technical limit to the material. Bronze is heavier than aluminium, and that weight affects the design and the casting process. Heavier material puts more pressure on the mould, causing it to fail more quickly. Size plays a role in this too – after all, more material means more weight. Rino explains: “Technically, 2.50 meters is feasible, but it won’t fit in our kiln. I wouldn’t go higher than 1.40 meters, and even then, only if you’re an experienced maker. For a personal project, I currently have a 1.70-meter piece here, and as an experienced caster, I really must give it my all and stay fully focused. So, I completely understand why creators make mistakes here and underestimate the material’s capabilities. Sizes that large are extremely risky. The minimum size for casting at Make? It’s 10 centimetres, it doesn’t get any smaller than that.”
Knowledge of the casting process
Not every maker has the same background knowledge of or skill in casting. And that’s fine. Experience can be gained, and according to Rino, it pays off. “It opens up extra possibilities in your work, and you can really develop in this area. You learn, for example, where to place the seams most cleanly. And what is and isn’t feasible for a foundry. In practice, this often goes wrong. In the commercial foundry world, there is frequent friction between artist and founder. The wax model might not be the right thickness, or it might fall apart. The founder then has to fix it, and the artist isn’t happy with the result.”
First time exploring
Rino enjoys working with less experienced makers just as much. “It doesn’t always have to be complicated. I really enjoyed Arne Nys’ work. He came in with a clay model, from which he first made a silicone mould and then a sand mould. And he did 2 small experiments casting linocuts in aluminium. That kind of carving techniques lend themselves well to casting. His work turned out really well and he was incredibly pleased with the metal object, which he wants to present as a painting. See, normally, people go to a foundry, and hand everything over. Arne did the work himself – it was his first time, and in that sense also an exploration,” Rino explains.
Ruining everything
Casting is just a small part of the process. Rino explains: “From start to finish, you can still ruin everything. Even at the very last moment – when clamping the moulds – it can all go wrong. For example, if you apply too much or too little pressure. All the energy you put in has to come out. And 9 times out of 10, you see that it does.” But none of it has to be perfect. Rino: “I also love it when people are stubborn and sloppy. That’s great too – it puts you on that edge as well. Sometimes it suits the work, it has its own charm.”
Experimenting, researching, failing
At Make, it’s all about experimentation and research – and ‘failure’ is part of that too. This is one difference between Make and a commercial foundry. Rino: “There, an artist first makes a model in plaster or rubber, and then 10 wax models, all of which are cast. I find that less interesting. Because if one fails, you just cast another. When you only have 1 chance, your focus is much better. You try harder. And I love it when that pays off! I take this into account in my advice – I want to encourage unique work. A while back, 4 people were working freehand – without a model prepared in advance – at one table. Fantastic!”
Deep dive into the technique
Another project that caught Rino’s attention was that of Laura Papke. Rino: “Laura is working on chalice forms, made by brushing wax over clay. That’s how she creates a unique object. Laura is following a long research trajectory for her work. She does it entirely herself and it’s also the first time she’s done this.” Like Laura, Ricardo van Eyk also has plenty of time. He is working on a kind of beehive-like forms, Rino explains. “Ricardo is exploring what’s possible within the technique and also uses other materials to burn the model out of the mould. When people really dive into the technique like that, it’s feels like a breath of fresh air. With a tight deadline, that’s hard to achieve. More time brings the space to plan, to research further and to go deeper.”