Contemporary sculptors continue to work in traditional materials such as marble and bronze, but they also explore the possibilities of everyday and exotic materials; corrugated iron sheeting and south American tapioca are just two examples of such materials found in sculptures recently acquired by Tate.
Whatever the materials, sculpture conservators need to understand their properties and how they behave if they are to find ways of preserving the sculptures in good condition. Whenever possible this involves talking to the artists and working closely with them to discuss their use of non-traditional materials and techniques.
For example, a central part of American sculptor Matthew Barney’s installation Ottoshaft (1992, Tate T06964) was a huge mattress of congealed tapioca, but even dry tapioca absorbs moisture from the air and quite soon the tapioca started to swell making the mattress arch up like a humpback bridge. Based on tests by Tate conservators using several new tapioca and resin formulae, a more stable mix was discovered. The artist then used the new mix to remake his piece, utilising a new stronger framework as recommended by Tate’s conservators. (see Fig.1).
Conservators generally give advice on how modern materials can be preserved in good condition for as long as possible. However, if it is part of the artist’s intention that the work should change with time, conservators work with this intention while ensuring that visitors, staff or the gallery environment are not harmed by decomposing material (see Fig.2). Anya Gallaccio's work preserve 'beauty' (1991-2003, Tate T11829) consists of fresh flowers, which over a period of several weeks are intended to fade and decompose. The fungal spores that naturally develop as the flowers rot are a potential health hazard for asthma sufferers, however it is possible to control the growth of these spores by controlling the environmental conditions of the display area.
An ongoing issue for sculpture conservators is the inherent tendency of most synthetic materials (including plastics) to degrade with age. Considerable research is undertaken into ways of thoroughly understanding and documenting these materials, so that if the onset of visible change and process of deterioration cannot be slowed, then conservators may have the option to replicate the form and feel of the material in study or display models. The cellulose nitrate parts of Naum Gabo's sculpture Model for Column have yellowed but this - the oldest plastic sculpture in the National collection - remains exhibitable, though some more recent plastic sculptures have degraded beyond restoration(Fig.3).
Even sculptures made from durable materials risk being damaged by the frequent handling and moving involved in Tate's busy display, exhibitions and loans programmes. Sculpture conservators advise on how best to handle Tate’s sculptures, many of which are extremely heavy or delicate. Similarly, where works consist of several parts and are complex to install, conservators work with the artist to document precisely how they should be installed for display. Much thought and effort also goes into the design and construction of custom-made safe storage and travel containers for sculptures, so that the works are always available for display at the various Tate sites and loan venues. This allows safe handling with minimum risk to the sculptures and to those involved in their transport and installation (see Figs.4 and 5).
Derek Pullen, Head of Sculpture Conservation
February 2007
Established: 1984
Conservators: 9.5 (inc. part-time posts)
Technicians & administrative staff: 1
Range of activity:
Collaborating with colleagues at Tate sites to enable exhibitions and collection displays of sculpture.
Providing care for all sculptures in the permanent collection or on loan to Tate, recording their structure & condition, advising on safe storage and transport,
and performing necessary treatments.
Researching sculptors' techniques and materials including interviews with them and their assistants.
Developing improved treatment and conservation procedures.
