Elementen van Huizen

A series of 12 acrylic or alkyd-on-cavas-on-plywood paintings, which are modelled precisely after 1970s German VERO building blocks were involved. Condition upon intake revealed systemic surface disruption, including substantial scuffing from inter-panel contact, extensive abrasion along the panel edges, and localized surface accretions, notably shoe prints and ink markings.

The Challenge

The twelve paintings arrived at the studio with a diverse range of surface contaminants, including general dust, pen marks, a shoe print, and localized brown droplets, that proved resistant to non-invasive dry-cleaning methods.

The Decision-Making Process

Aqueous System Selection: Following surface pH measurements of approximately 5.9, a pH 5.8 EDTA solution was chosen as the optimal cleaning agent to safely neutralize and lift the various contaminants without disrupting the paint film's chemistry.To prevent the aqueous system from penetrating the paint layers or the plain weave canvas support, each application was immediately followed by a demineralized water rinse.

Moisture Management: The cleaning and rinsing solutions were promptly removed by dabbing with paper towels to limit the duration of contact and prevent any potential swelling of the underlying media.

The Challenge

The primary technical hurdle was a "solubility paradox" where the scuff marks, caused by the panels brushing against one another, shared nearly identical chemical sensitivities with the original varnish. This necessitated the development of a highly specific cleaning system that could selectively target varied scuff compositions without compromising the integrity or the consistent gloss level of the underlying varnish. To find this narrow window of safety, more than 100 different tests were conducted, encompassing buffered water, chelators, enzymes, surfactants, organic solvents, and complex gel systems.

The Decision-Making Process

Solvent Testing and Selection: After extensive trialling, a mixture of 50% acetone and 50% water, or a blend of 90% iso-octane and 10% isopropanol, was found to be effective for the majority of the scuffs.

Layer Thinning Technique: For areas with particularly thick residues, pure isopropanol was first carefully dabbed on top to thin the layer before full removal was attempted.

Safety and Ethical Limits: In cases where residues were deemed too stubborn to be removed without risking the original paint or varnish, a conservative decision was made to leave them in situ for later retouching.

The Challenge

The paintings exhibited localized structural failures, including deformed paint and canvas, frayed edges, and canvas-to-wood delamination. These issues required a non-invasive yet effective method to address structural failure and reinforce integrity.

The Decision-Making Process

Deformation treatment: Self-made humidity chambers were constructed using a sandwich configuration of blotting paper and Tyvek wrapped in a Melinex enclosure. This system allowed only water vapour to permeate the affected areas, providing a gentle means to soften deformations until the materials regained flexibility. Once softened, the deformed sections were flattened and left to set under weights overnight to ensure they regained their original shape.

Loose Threads Consolidation: Plextol B500 was selected for consolidating frayed edges and loose threads due to its appropriate adhesive properties for modern media.

Large delamination: For larger delaminated sections, a self-made double-sided tape consisting of non-woven polyester impregnated with Plextol B500 was used; the adhesive was reactivated with ethyl acetate to ensure precise and stable positioning.

Pressure and Curing: Consolidated areas were secured under weights or clamps during curing to ensure a secure bond between the canvas and the plywood support. Specialized clamping systems were fabricated to accommodate the unique geometric shapes of the panels, including triangular and trapezoidal architectural elements.

The Challenge

The ensemble presented numerous localized losses, abrasions, and impact damagez. Because the architectural elements were modelled after 1970s VERO toys characterized by monochrome components, achieving a flush and consistent surface was essential.

The Decision-Making Process

Material Compatibility: Local fills were applied using Modostuc, chosen because its water-based system is compatible with the lack of water sensitivity exhibited by the paintings' surfaces.

Texturizing under Raking Light: To ensure the fills matched the surrounding topography perfectly, they were texturized using diluted Modostuc and a small brush while being monitored under raking light.

Isolation for Retouching: Once the fills were level and textured, they were isolated using a 5% Regalrez varnish in Shellsol T to provide a stable barrier for subsequent retouching and to match the existing gloss of the original varnish.

The Challenge

The retouching campaign required a high degree of visual unity across an ensemble characterized by large, monochrome areas inspired by the 1970s VERO toy aesthetic. Coordinating 6 conservators to maintain identical retouching standards across 12 panels posed a significant risk of stylistic inconsistency.

The Decision-Making Process

Task Specialization: To ensure uniformity, the group abstracted the palette into nine distinct colours and assigned specific hues to individual team members rather than assigning whole panels.

Medium Selection for Reversibility: Regalrez 1094 was selected as the primary medium due to its solubility in low-aromatic solvents, which do not affect the original varnish.

Gloss Management: A 50% resin concentration in either Shellsol T or iso-octane was used to fine-tune the finish; when retouches appeared too glossy, they were matted down manually by tapping with a brush or finger.

The Challenge

The primary difficulty in presenting the installation was the absence of two original components, a small square and a triangle, which were lost before the ensemble entered the collection. Restoring the work to its original context required a precise understanding of the missing pieces' dimensions and colours within a limited timeframe. Furthermore, several panels lacked functioning hanging hardware or had systems oriented incorrectly for the intended display.

The Decision-Making Process

Reconstruction Strategy: Due to strict time constraints, it was determined that physical reconstructions would not be fabricated. Instead, the characteristics of the missing panels were thoroughly documented to facilitate future reconstruction efforts.

Iconographic Research: By cross-referencing archival black-and-white photographs with the VERO building block kits that inspired the artist, the team deduced the original colours of the missing pieces as well as the exact positioning of the original ensemble.

Hanging System Adaptation: The installation team at CC-NL modified the hanging hardware for all panels.

Following the collaborative conservation campaign, the ensemble was successfully restored to the physical and visual unity originally intended by the artist. To ensure the long-term stability of treated surfaces, preventive conservation standards are required to prevent the recurrence of previous damage. Because the paintings remain unframed and the colours extend onto the tacking edges, the surfaces are vulnerable to environmental fluctuations and mechanical stress during handling. Furthermore, the specific 1970s configuration relies on precise spatial relationships that must be maintained to uphold the intended architectural illusion of tumbled building blocks.