Peeking over the shoulder of Project Paintings Conservator Sharra Grow, you can see one small area o

Peeking over the shoulder of Project Paintings Conservator Sharra Grow, you can see one small area of solvent as she works her way across the surface of On a Square 0-90 and a Square 15-105 with a cotton swab. This diptych by François Morellet is undergoing one of the most sensitive tasks in conservation: cleaning. The stakes are especially high because of the painting’s matte white, unvarnished acrylic surface. When it was examined for a loan request, conservators noticed that the pristine presentation was marred by a couple of dirty smudges. Since there was also a fine layer of grime present overall, treatment of the smudges alone might have left these sections brighter than their surroundings – so instead Sharra is evenly removing all of the grime on the surface, along with the smudges.The cleaning solution is a customized emulsion designed to remove dirt without affecting components of the acrylic paint, such as surfactant that exudes from the paint film over time. The emulsion includes a tiny percentage of water dispersed within a non-active solvent: the water performs the cleaning actionon the dirt while the solvent reduces interaction with the painting. After the solvent evaporates, the surface will appear matte white again, now dirt-free.The difference before and after treatment is subtle, but still essential for a number of reasons. Aesthetically, the crispness of On a Square’s thin black lines on the white field is vital to the artist’s intent, so removing even a thin layer of grayish dirt has an important overall impact. Additionally, dirt is acidic, a trait that can chemically alter a surface. It is also hygroscopic, meaning it collects moisture—which in turn holds even more gray and acidic dirt on the surface. After treatment is complete, this diptych will join a a François Morellet exhibition at Dia:Chelsea this fall.Posted by Jessica Ford -- source link

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