New artwork arrives at the studio to be ready for an exhibition: pressure, limited time, bleeding inks...
Could it not be some other easier and more showing off artefacts?
Here's what I do when I don't seem to find much to do:
Tape removal, and failing to flatten under tension with magnets...
Mounting the artwork on a housing that secured an even tension on the artwork during the exhibition, was the last resource.
Or how to remove pressure sensitive tapes, without removing them.
We have spoken about bibliopaths, about misuses and how to eradicate its effects... But, what happens when the artefact itself causes its own degradation?
I never enjoy anything as much as visiting other paper restoration studios, especially if they are private. They usually bear the imprint of a personal vocation, a personality which is barely present at institutional studios. I watch the space distribution, the tools, the jars... at Hildegard Homburger's studio. Is there a better way to nose around than becoming a berliner restorer for two days?
Which damages cause sellotapes? Can we release documentary heritage from these fatty strips?
Explanation for the degradation mechanisms of this historic "remedial" tapes that we can find in documents of all kinds, and restoration possibilities in each case.
I don’t like much having war books, but I must admit that this one is particularly beautiful. The velvet binding seemed to me a challenging issue on the restoration, which did not have major complications besides this.
I show the restoration of this book because of the headaches it has given me when solving the lost areas, the wooden work. The considerable losses on a laborious woodcarving work, and the lack of originals of many of the missing pieces fairly complicated the subject (the shields on the corners were different).