< INTRODUCTION TO MAINTENANCE & RESTORATION

MAINTENANCE 1

Sculptures that are well constructed, kept indoors and held in reletively stable environments should be more or less maintenance free, with the exception of an occasional dusting. Dust removal should be done as lightly done as possible, never using a cloth with any abrasive quality whatsoever (avoiding lint or muslin), and never using vigerous rubbing to develop a polish sheen – this will quickly remove a delicate patina and seriously devalue the sculpture’s artistic and monetary value. Better still, touch the work as little as possible with bare hands (where necessary use soft ‘art handler’s’ soft gloves), and instead of a cloth use a gentle stream of compressed air (such as used in photographer’s camera cleaning equipment), to remove dust. Bear in mind though, that any aggressive use of compressed air might cause loose grit particles to behave as blast media, possibly damaging the patina. I once helped fabricate a large (and very expensive), polished stainless steel and lit acrylic glass centrepiece, which was suspended in the atrium of a large cruise ship. Unthinkingly, barbecue demonstations conducted at deck level, resulting in a deposit of sticky grease and animal fats to which dust and other debris adhered. The moral of the tale here is to consider carefully the potential hazards of placing an artwork in any particular environment.

Polished works may tarnish over time, but any remedy that involves the application of a household cleaner or polishing compound (including household stainless steel cleaners), should be avoided at all costs. Bear in mind that a mirror polish can be disturbed very easily and can be very difficult to restore to it’s original state. Where possible seek the [cleaning] advice of the artist or manufacturer, if this is not possible the services of a professional restorer should be sought. If you must attempt a cleaning operation on a highly polished artwork, try using a very soft chamois cloth, but first test a discreet area of the cast for results before progressing further. In some instances the use of a tarnish inhibitor with BENZOTRIAZOLE (BTA) component may be appropriate (the acrylic resin coating INCRALAC contains BTA), though professional advice is recommended before use on a fine quality sculpture, as is sample testing for compatability.

Constant handling and touching of a cast sculpture will result in a removal of the patina or a development of tarnish in affected areas (especially on raised areas such as the nose, knees, hands etc), if you do not want this to happen, place the artwork in an area inaccessable by hand and/or place a cautionary notice nearby. Cast sculptures that are situated out of doors are far more vulnerable to attack, both by the natural environment and from human activity. Again it is of vital importance that the cast is well constructed, with core material and core pins (where used) completely removed. If the sculpture contains more than one type of metal (such as a steel fixing for example), intermetallic touching components should either be made from compatible alloys, or be fully insulated from one another (this also applies when the sculpture’s fabric is in direct contact with a secondary feature such as a metal plinth or section of architectural detail).

During the metal finishing stages (chasing), the sculpture should be surveyed for potential water traps and a relief hole drilled through the casting at the lowest point of any pockets to allow drainage. If drilling a relief hole could lead to the collection of water within the cast’s interior, a tube should be securely attached to the hole to enable water to drain away, exiting the sculpture at a suitably discreet point. Drains should also be regularly checked for signs of fouling by leaves and other debris.

Artist’s might also want to give some consideration as to which patina application is most suited to the environment in which the sculpture will be placed. A complicated or delicate patina will no doubt require regular attention to keep the artwork looking as orignially intended; whereas a heavy green or dark black/brown patina will possibly keep it’s look in the long term, obviously according to the location.

MAINTENANCE 2 >