Inside an Artist’s Lab

My studio is filled with unexpected and disparate objects that are used in conservation but normally linked with other activities. All conservation studios would be about the same. I have scalpels, spatulas, tweezers that I generally use for scraping and cleaning. I love a well-crafted long handled spoon with a small scoop that I have, given to me by my father-in-law, a dentist. I use it to mix powders when I make putty. I have a well-stocked toolbox and a carpenter who makes stretchers. I also require weights and clamps whenever paintings undergo pressure. (Please do not try it, for there is only a certain way that it can be done.)

I also need a miniature vacuum cleaner for the reverse side of filthy paintings, a hair dryer, which finds many uses, a large and small iron and an electric spatula to smoothen out cracks and wrinkles. We use vision visors and an ultra-violet light to scrutinise paintings and an infra-red light to dry out canvases attacked by fungus. Used with an infrared viewer, the infrared light helps in the examination of paintings. We often have to deal with variegated fungi, termites and silver fish and need to fumigate afflicted works or scoop out clumps of dead termite eggs.

The alchemy lies in the consolidants, coatings and chemicals that clean, revive and restore the health of a painting that has deteriorated because of problems linked with handling, environment and maintenance. An artist’s technique of painting and the materials used to make it can also effect the life of a painting.

There is paper for all reasons — acid free and alkaline, with long fibers, of different thickness and whitish hues both delicate and practical, depending on the needs of a watercolour, a miniature or tempera on paper. I must not forget the indispensable polyester films otherwise used for lamination or for wire insulation. Of substantial necessity are canvas cloth and unbleached cottons, which support many battered paintings.

Brushes clean surfaces, apply liquids and bring colour. We require quantities of cotton wool and many beakers. Thin satay sticks find clinical uses. For x-rays and pigment testing I seek outside help. A trained conservator blends science and art.