Working With Denali: What It Looks Like From Start to Finish

You've got an idea. Maybe it's a 20-foot sculpture for a public plaza, or a delicate installation for your gallery's next exhibition, or a collection that needs to move across the country without a scratch. Whatever it is, you're probably wondering: "Okay, but how are we actually going to make this work?"

I get that question a lot. And honestly, it makes sense. Art fabrication and installation can feel like this mysterious black box where you hand over your vision and hope for the best. But it doesn't have to be that way.

At Denali, we believe the best client experience comes from transparency. So today, I'm walking you through our entire project lifecycle – from that first conversation to long-term support – so you know exactly what working with a full-service art fabrication company looks like.

The First Call – Getting to Know Your Project

Every project starts with a conversation. And this might be the most important part of the whole process.

When we talk, I'm not just trying to understand what you want to build – I'm trying to understand why you want to build it, where it's going, who's going to see it, and what success looks like for you. Because here's the thing: the technical stuff is just the technical stuff. The real challenge is making sure we're all working toward the same vision.

Dan Alley, owner of Denali Art Solutions. I'm ready to talk through your big idea!

We'll dig into the practical details, too. Materials, timeline, budget, and any specific challenges you're already anticipating. But what I'm really listening for are the constraints and goals that might not be obvious. Is this piece going to live outside for decades? Does it need to be portable for touring exhibitions? Are there accessibility requirements we need to consider?

This conversation sets the tone for everything that follows. When we understand not just what you want, but why you want it, we can suggest solutions you might not have considered and avoid problems before they happen. And having this conversation sooner rather than later is always a good thing. So if you're thinking of reaching out to us about your next project, let's chat.

Planning & Engineering – Turning Ideas into Blueprints

Once we've got the big picture, it's time to get into the details. This is where your vision starts becoming something we can actually build.

Depending on the project, this might mean creating detailed renderings, technical drawings, and material specifications. For larger or more complex pieces – especially anything that's going in a public space – we'll bring in structural engineering to make sure everything is safe and up to code.

Shop drawings for Matt Scobey's Poydras Corridor Polyhedra. Shoutout to our main man, Eric Lynn, over at Workhaus - we couldn't make such awesome art happen without your expertise!

Here's where the real collaboration begins: the three-way conversation between artist, fabricator, and engineer. We work with our design partners to create shop drawings—the detailed "instruction manual" that shows exactly how to build your piece. These drawings include everything: the internal framework, specific hardware, material thicknesses, and assembly instructions.

Then those shop drawings go to the engineer for review. Can it withstand hurricane-force winds? Will the foundation hold? Is the material strong enough for the size and shape? The engineer "redlines" the drawings with any required changes, and we revise until everything meets safety standards. It might take a few rounds, but when you see that engineer's approval stamp, you know the structure is certified safe and ready to build.

This back-and-forth is how we find the sweet spot between what you envision, what we can build, and what the engineer requires. As I like to put it: "We say what we're going to build, the engineer says it won't fall apart, and we build it that way so it doesn't fall apart."

This is also where we nail down the final budget and timeline. No surprises, no "well, actually" moments later on. We want everyone to know exactly what they're signing up for.

The best projects happen when everyone's expertise is on the table. Maybe your original material choice won't work for the installation environment, or maybe we can suggest a fabrication method that'll save time and money without compromising your vision. That's what collaboration looks like.

Fabrication – Where the Magic Happens

This is the part people are usually most curious about – and for good reason. Fabrication is where your idea becomes real.

Every project is different. We might be working with steel and aluminum for a large-scale outdoor sculpture, or precision woodwork for museum casework, or casting materials for something more sculptural. The materials and methods depend entirely on what the piece needs to do and where it's going to live.

What doesn't change is our approach. Everything is custom, everything is collaborative, and everything is built to last. We're not just following a blueprint – we're problem-solving in real time.

Take structural integrity, for example. On a recent project, our lead fabricator, Abe, noticed that a sculptural element with significant weight at the top would naturally want to twist since it was only attached near the bottom. Left unchecked, that twisting motion – especially with wind acting on it outdoors – would cause the metal to fatigue over time. Think of bending a copper wire back and forth until it snaps. That's what happens when metal deflects too much: it can literally tear itself apart.

The solution? Adding internal ribs to distribute the weight from the top down to multiple points along the structure. But here's where it gets interesting: the artist didn't want those ribs visible in the elevation view. It would have been simpler to build the whole thing as a box, but that would compromise the aesthetic. So we had to find that sweet spot – keeping the piece structurally sound without adding visual bulk that would change how it looks.

This is the constant balance in fabrication: maintaining the artist's intent and aesthetic vision while ensuring the piece can withstand real-world conditions for decades. Wind, weather, temperature changes – we're building for all of it.

For sculptural work, we often start with molds. You can work from those molds and then alter and adjust as needed. Our team – Emily and Charlie especially – are pros at this kind of work, figuring out how to translate your vision into something we can cast and build.

For George Dunbar's Monumental Deity XX, the team had to align bottom wax to the cast bronze top.

Throughout fabrication, we keep you in the loop. Regular check-ins, photos of work in progress, and opportunities for you to see the piece taking shape.

We're also thinking ahead to installation from day one. How does this piece come apart for transport? Where are the lifting points? What kind of foundation or mounting system will it need? Good fabrication makes installation possible.

Crating & Prep – Protecting Your Work for the Journey

Once your piece is complete, it needs to travel – whether that's across town or across the country. And that means custom crating.

This isn't about grabbing some bubble wrap and hoping for the best. Every crate we build is designed specifically for the artwork it's protecting, using archival materials and custom internal supports. We're thinking about weight distribution, potential impact points, climate control, and easy unpacking at the destination.

Now, here's what people don't always realize: each client can have different specifications for crate-building. We always follow the specs we're given. We do have a standard crate design we can use pretty readily, but depending on what you need, we can build anything from the most spec'd out version to... well, let's call it a functional wooden box.

The timeline could be anywhere from a day to 2-3 weeks, depending on ordering materials and the complexity of the build. And I always like to do site visits when possible because inevitably, the piece could be the wrong dimension. Better to catch that early.

The crating process also includes detailed labeling, photography for insurance purposes, and coordination with our transport team to make sure everyone knows exactly what they're handling and how to handle it safely.

Good crating is invisible when it works. The artwork arrives in perfect condition, the crate opens easily on-site, and the installation team has everything they need to get the piece in place. When crating doesn't work... well, that's when you get those phone calls nobody wants to make.

Transportation – Getting It There Safely

Moving art isn't like moving furniture. We're dealing with irreplaceable, often fragile objects that might be worth more than the truck they're riding in. So we take it seriously.

Our national art transportation services include climate-controlled vehicles, dual-driver teams for long hauls, and coordination with clients on delivery timing and site access. When we're planning a route, it's all about figuring out what clients are involved, where things need to go, and mapping the most fitting route according to the timeline.

Brittan gets the truck packed and ready for transport.

As Brittan, who organizes our transport routes, explains it: "Sometimes there are hard deadlines, so you try and look through it and see where they need to be by a certain timeline. I spend a decent amount of time just with Google Maps, figuring out distances from New Orleans to the first location, then from the second location to the third location, just to make sure it's manageable for our drivers to actually cover day by day."

We do a lot of preliminary communication with clients. Basic questions like: Do you have a forklift? Do you have a loading dock? Is someone going to be there on this day? Because showing up with a 40-foot truck at a loading dock that can't accommodate it is the kind of problem we solve before it happens.

Our drivers provide updates throughout the journey – typically a 24-hour notice and then a one-hour notice before arrival. It's all about making sure the delivery goes smoothly and everyone knows what to expect.

Every piece of art we transport is handled by trained professionals who understand that this isn't just cargo – it's someone's vision, investment, and often years of work.

Installation – The Final Step

This is it. The moment when your project goes from being something we've built to something the world can see and experience.

Installation requires its own set of skills. We're doing site prep, rigging, leveling, and anchoring, often in spaces that weren't designed for art installation. We work with museums, galleries, municipalities, and private collectors, each with their own requirements and constraints.

The best installations look effortless, but they're actually the result of careful planning and experienced problem-solving. Because here's what always happens: something about the site is different than expected.

Working in New Orleans especially, the weather doesn't always cooperate. A summertime outdoor install? Brutal with the Louisiana heat and humidity. And if we're installing inside one of the city's older homes, you never know what surprises we'll come across. Walls aren't always flush or level, and neither are the floors. Sometimes things just take longer than expected.

That's when experience matters. Our installation team has seen it all, and they know how to adapt without compromising the integrity of the work or the vision behind it.

The Denali team install Matt Scobey's Poydras Corridor Polyhedra in New Orleans.

Ongoing Support – We're in It for the Long Haul

Here's something that sets us apart: we don't disappear once the installation is complete.

Art lives in the world, which means it faces weather, wear, and the occasional accident. We offer ongoing maintenance for public artworks, on-call support for museums and collectors, and long-term storage when needed. We can handle everything from routine cleaning and patina care to more complex repairs and refurbishment.

Why? Because we're not just a vendor. We're partners in keeping your art looking and functioning the way it was meant to. Some of our best client relationships have evolved over years, as projects grow and new opportunities arise.

One of our longest-standing clients is the Ogden Museum of Southern Art. Amy Newell, their Registrar and Exhibitions Manager, put it this way: "I have always been pleased with the work Denali does for Ogden. Originally, I thought of Denali for just our art installation needs. But as time has gone by, I find myself using phrases like, 'Let's ask Dan, I bet he'll know how to do that.' Working with Denali has made us more efficient. I do not have to make a dozen phone calls trying to find the help and services I need. Now I can just call Dan."

That's exactly the kind of relationship we want with all our clients. You shouldn't have to manage five different vendors when one team can handle it all. And when something unexpected comes up – and it always does – you have people you trust who can figure it out with you.

Making the Complex Doable

That's our process. Start to finish. The goal isn't just to provide full-service art fabrication; it's to make ambitious projects achievable and enjoyable for everyone involved.

Artists with wild ideas? Curators planning complex exhibitions? Collectors who need expert care for their pieces? We're here to figure it out together.

Got a project brewing? We'd love to hear about it. Drop us a line and let's talk through what you're thinking. Even if you're not sure it's possible yet. Especially if you're not sure it's possible.

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This post is part of our Shop Talk series, where we pull back the curtain on how art fabrication and installation actually work. Want more insights like this delivered to your inbox? Join our mailing list. Ready to talk about your project? Get in touch here.