Art Appreciation Statement

I have spent over twenty years of my career focused on learning, conserving and preparing historical and contemporary objects and flat artwork for display and storage for both the public and private use. The purpose of paper conservation or restoration work is to preserve and restore works on paper and make them accessible for exhibition, sale or study. Often, the works selected for conservation treatment are aesthetically damaged, too fragile for exhibition, or they are in imminent danger due to continuing deterioration. Each art work has its own history of previous treatment, framing, and environmental exposure, and consequently the conservation and restoration of each individual work presents a unique set of considerations with a willingness

This included: understanding and writing condition reports, documentation, and policy, art preparation, repair and care, housing, matting and framing of artwork according to professional picture framing and standards set through the Northeast Document Conservation Center and the American Institute for Conservation. I ran experiments to identify, understand and repair paper properties and materials. From these experiments and processes, I learned the best ways to care for works, beginning with the removing of superficial grime and dirt with soft brushes. This training included mending tears, easing cockling and foxing; removal of tape, adhesive, backings, stains, mold, insect residues and other accretions; deacidification; attaching linings to weakened papers and minor in-painting or filling areas for media or paper losses. Yet, my favorite aspect of this part of my career was assisting master conservators in the studio and on location in museums, historical societies, and patron homes with projects. Watching and learning from their professional and collaborative methods with each other and the projects presented to them is the foundation of my practice

During the Renaissance, art, artists and performers were used as mediators and as dispute resolution tools across large parts of Europe. As a Ford Restart Scholar, I was encouraged to continue my graduate studies even with the challenges I had gone through. Wanting to delve into a deeper understanding of these concepts, I returned to school for a Masters in Conflict and Dispute Resolution at the University of Oregon Law school. This study improved my collaborative skills, artist practice and conservation skills by combining both conflict resolution and conservation fields into my internship opportunity at the Jordan Schnitzer Museum of Art. In addition, through my masters thesis, I feel I have strengthened professional goals about how these collections need to be cared for so others can understand historical reference, memory and narrative as a way to express grief while building compassion and empathy not only in conflict