Neil Wressell, Conservator, So I think from the conservation point of view, we have to see this work as something that’s an ongoing process. I think a conservator will always travel with the work and, I’m afraid, with a tool bag including some glue and replacement elements. Although we understand packing works of art, and at the Tate we’ve had great experience of casing, transporting art, and the long-term storage of art - I think fragile objects that are very big and heavy are always going to be at risk of damage when they’re being transported. So from a conservation point of view we can lower those risks as much as possible, we can take into consideration the weight and the cushioning that’s needed in the case, but you also have to understand that the fragile elements might get damaged during this high-risk operation, and with installing the work. |