REVERSIBILITY

Every conservator-restorer must strictly follow the professional rules established by E.C.C.O. — the European Confederation of Conservator-Restorers’ Organisations — in accordance with the ethics and standards of the profession. –> https://www.ecco-eu.org/

This begins with the principle of reversibility:

In order to respect the authenticity and integrity of the artwork, each intervention must be reversible. This means that it should be possible to remove it easily without causing harm to the artwork.

This is particularly important because progress is constantly being made in all fields, including the conservation and restoration of works of art. Certain techniques may therefore be improved and eventually replaced.

This means that future conservator-restorers must be able to remove previous restorations without difficulty, in order to intervene more accurately and without damaging the artwork.

The principle of reversibility must be observed with great care. Unfortunately, some amateurs present themselves as art restorers and may damage an artwork even more than it was initially.

Interventions carried out by non-professionals are often irreversible because they are not performed by someone qualified and trained according to professional standards.

Calling on qualified professionals guarantees the quality, authenticity, integrity and long-term preservation of your artworks.

The conservator-restorer must intervene as little as possible in order to preserve the original materials as fully as possible. Any intervention must be limited to what is strictly necessary.

MINIMAL INTERVENTION

STABILITY

Stable environmental conditions

Selection of materials that remain stable over time

The environment within the studio is monitored using a hygrometer

The environment within the studio is monitored using a hygrometer, which allows me to measure relative humidity and ambient temperature. This device is essential to ensure a stable climate for your artworks. Materials are sensitive to sudden variations, whether in humidity or temperature. For most artworks, the ideal relative humidity is generally between 50% and 55%, with a temperature of around 19–20°C.

Materials are carefully selected for their reversibility, compatibility and stability within the artwork. They have been specifically tested beforehand in laboratories in order to verify their effectiveness and durability over time. Each material used in the restoration of works of art must be stable, compatible with the other constituent materials of the artwork and, of course, reversible. The careful selection and combination of these elements ensure the durability of my work in the studio.

Conservation Advice

Your artworks do not like sunlight, sources of heat, high humidity or fluctuations in relative humidity.

Keep your artworks away from sunlight

Direct light is one of the main factors of deterioration for artworks. Avoid placing an artwork facing a window, in a conservatory, or anywhere directly exposed to ultraviolet rays. If you have no alternative, consider using UV filters, which will reduce their impact on your artworks.

Ultraviolet rays are harmful to artworks. They can, for example, cause varnishes to yellow prematurely, lead to significant detachment of the paint layer, or even cause acrylic paint to soften or melt, as it is sensitive to heat.

Maintain a stable environment

Avoid significant changes in relative humidity, as these can be extremely harmful to your artworks. Works of art are made up of materials that are sensitive to variations. When these variations occur, the artworks react. These mechanical and chemical reactions may become visible in the structure, the paint layer and the overall appearance of the artwork. Examples include cracks in the wood, micro-cracking in the paint layer, significant detachment of the paint layer, and other forms of deterioration.

It is advisable to monitor both relative humidity and ambient temperature.

To do so, you may wish to use a hygrometer, which measures temperature and relative humidity in order to help maintain an ideal environment for your artworks. The ideal temperature and relative humidity depend on the type of artwork and the materials from which it is made.

For any questions, please contact me.

Avoid sources of heat

Avoid placing your artworks near a stove, fireplace or radiator. Otherwise, you may find them a few years later — or even sooner — covered in soot, for example.

In addition, excessive heat can cause deterioration within the paint layer itself, such as detachment, lifting, loss of material and other damage. These reactions not only affect the aesthetic appearance of the artwork but also indicate deeper degradation of its constituent materials.

When we think of heat, we should also think of bathrooms. Some clients display artworks in their bathroom without considering the impact of heat and humidity. Heat is destructive, and high humidity is equally harmful. Together, they create ideal conditions for the development of mould and micro-organisms.

Another source of heat can be the use of spotlights to illuminate your masterpieces. Some spotlights emit a great deal of heat, which can be destructive for artworks. Choose LED spotlights in order to reduce heat exposure as much as possible.

How to preserve your artworks properly

Avoid storing your artworks in a cellar or attic, as these spaces are generally known to be too cold and/or too humid.

These environmental conditions are not ideal for artworks. They may lead, for example, to significant mould growth. In addition, artworks may be exposed to potential damage caused by rodents or insects. In cellars, flooding may also occur, which can be destructive and irreversible for your artworks.

Store your artworks wrapped and protected in a stable environment, with temperature and humidity levels as indicated above.

AFTER RESTORATION — TAKING GOOD CARE OF YOUR ARTWORKS

Do not attempt to restore or carry out any treatment on your artworks yourself. For dust removal, the only advice I can give is to gently remove dust using a very soft-bristled brush.

Do not use a damp cloth on the paint layer or on the frame, as you may remove paint.

For any questions or doubts, please contact me.

CONFIDENTIALITY

The studio is located in Brussels, but the address remains confidential in order to guarantee the safety of your artworks.

Your artworks are kept under close supervision with an optimal security system, including cameras, an alarm, a reinforced door and security shutters.