EMBRACING CULTURAL MATERIALS CONSERVATION IN THE TROPICS EMBRACING CULTURAL MATERIALS CONSERVATION IN THE TROPICS

THE 4th APTCCARN MEETING IN 2015

Conservation Center Cheng Shiu University, Taiwan 25-27 November 2015

APTCCARN Asia Pacific Tropical Climate Conservation Art Research Network) is supported by The Grimwade Conservation of Cultural Materials Conservation, The University of Melbourne Victoria 3010 Australia

T +61 3 8344 7989 F +61 3 8344 0329 [email protected] http://www.aptccarn.com TABLE OF COMMITTEE & ORGANIZERS ORGANISING COMMITTEE 3 CONTENTS Embracing cultural materials conservation in › ORGANISING COMMITTEE FROM APTCCARN the tropics: the 4th APTCCARN Meeting is being Dr Ioseba Soraluze, Conservation Center, organized by: Cheng Shiu University, Taiwan Conservation Center, Office of Art and Culture, Dr Nicole Tse, APTCCARN and the Grimwade Cheng Shiu University Centre for Cultural Materials Conservation, Grimwade Center for Cultural Materials University of Melbourne, Australia Conservation, University of Melbourne Amerrudin Ahmad, Balai Seni Visual Negara, Malaysia Julia Brennan, Caring for Textiles, Washington Anne Carter, APTCCARN member- INCCA AP, Queensland Art Gallery- Gallery of Modern Art Professor Supanee Chayabutra, Materials Centre for Art and Design, Silpakorn University, Thailand Dr Ana Labrador, Assistant Director, National Museum of the Philippines Diana Tay, Paintings Conservator, Singapore

Committee & Supporters 3

Welcome Messages 4-6 CO-ORGANIZERS Bureau of Cultural Heritage Ministry of Culture Exhibition 7 National Palace Museum National Science And Technology Museum Taipei Fine Arts Museum General Information 8 Kaohsiung Museum of Fine Arts ARTISTS & MATERIALITY 25 November 2015 ∫ The impact of Asia Pacific culture and geography on artists’ material choices, techniques and artists’ intentions

COLLECTION CARE & ENVIRONMENTAL REALITIES 26 November 2015 ∫ The environment and current realities of collections care ∫ Standards and principles of conservation practice in tropical climates

TROPICAL CLIMATES & MATERIALS 27 November 2015 ∫ The effect of tropical climates on cultural materials ∫ Their unique degradation mechanisms SPONSORS

Conference Program Overview 9-13 The organizers gratefully acknowledge the financial support of: Abstracts 14-29 Major Sponsor: Chen Cheng-po Cultural Foundation Speaker Profile/s 30-39 Location Maps 40 4 WELCOME MESSAGES 5 Embracing Cultural Materials Conservation In The Tropics The 4th APTCCARN Meeting

From the 4th APTCCARN Organising Committee Dr Nicole Tse The Grimwade Centre for Cultural Materials Conservation, The University of Melbourne Dr Ana Labrador Assistant Director, National Museum of the Philippines Diana Tay Paintings Conservator, Singapore

Welcome to the 4th APTCCARN Meeting in more value based and substantiated The 4th APTCCARN Committee is very Taiwan at the Conservation Center, Cheng according to differences in institutional pleased that Conservation Center of Shiu University. APTCCARN was inaugurated practices, development histories and Cheng Shiu University in Taiwan is hosting in 2009 at the Balai Seni Visual Negara each disciplinary leader’s foci. The very this event. Dr Ioseba Soraluze and the (National Visual Art Gallery in Malaysia) and existence of APTCCARN recognises the need local organising committee have worked has since held meetings at the University to develop regional approaches, however tirelessly over the past year to arrange the of Melbourne in Australia, and Silpakorn recent case studies and discussions event details to its perfection. Hosting an University in Thailand. It was established in have shown that they vary in complexity, international event like this takes a lot of recognition of the need to support a resources and capacity. How this translates commitment, attention to detail and we geographically focussed practice of cultural to principles or a regional discipline of deeply thank them. We thank Dr Rujaya materials conservation in the Asia Pacific cultural materials conservation are worthy Abhakorn, Director of SEAMEO SPAFA, for and a maturing discipline. Over six years of discussion at the 4th APTCCARN Meeting. his opening speech and engaging vision APTCCARN has built a community of practice of cultural heritage in the region. Further from which approaches are emerging and In saying this, a significant aspect of thanks is extended to invited scholar, revealing important information about the cultural materials conservation relates to Prof. Hsiao Chong-rui of National Cheng culture and conditions in the region. Our the physical requirements of collections Kung University of Taiwan in uncovering APTCCARN meetings provide a space for and their material stability. Agreeably the materiality of Chen Cheng Po’s artistic reflexive thinking to share conservation the success of materials conservation practice. Lastly we thank the sponsors and experiences and test new concepts or is centrally focussed on stakeholder and particularly the Chen Cheng-po Cultural ideologies within the geographic focus of community contexts of decision making, Foundation as a major sponsor. We hope the Asia Pacific. however an understanding of deterioration you also enjoy the important exhibition on processes and object materiality are the artist’s work. As the title alludes to, ‘Embracing Cultural important. The knowledge of such matters Materials Conservation in the Tropics’, the does exist, as vested in people, objects and Thank you to all speakers, chairs and 4th Meeting intends to highlight how we documents, however it has not been fully participants for attending the 4th are actively and productively interacting captured for an improved understanding of APTCCARN Meeting on ‘Embracing Cultural with cultural heritage and whether material stability in the tropics. These are Materials Conservation in the Tropics’. commonalities exist among us. In reviewing other points for discussion. past conservation approaches in the 4th APTCCARN Committee Meeting Asia Pacific region, underpinning many of them are Western notions of heritage. Institutions, communities and conservation practices have struggled with a tension between an object centred approach and scientific methods versus ones that are 6 EXHIBITION 7

From the Host Institution

Kung Jui-chang President, Cheng Shiu University, Taiwan

The Conservation Center, Cheng Shiu The lack of proper concepts of conservation University in Taiwan is pleased to host the causes serious damages on art relics so that 2015 4th APTCCARN Meeting in Taiwan. With we keep "education" and "research" as faith a focus on Asia Pacific’s diverse climate, to hold several conferences and exhibitions history and future, the meeting aims to in relation to conservation and restoration. embrace cultural materials conservation Through related seminars and activities Although X-rays were discovered in the Looking through X-rays – the unknown in the region, our experiences and the we'd like to let people, no matter how young 1880s by a German physicist it wasn’t Chen Cheng-po is an exhibition organized future. Issues such as developing a regional or old they are, experience and understand until the 1930s that they were used for the by the Chen Cheng-po Cultural Foundation practice of cultural materials conservation proper methods of conservation of each examination of paintings and since then and the Conservation Center of Cheng Shiu within the needs, resources, communities artwork and then spread the correct ideas X-ray technology has become an important University. The exhibition is the result of and geographic place will be addressed. This that implement "Lifelong learning", "Anytime tool for scientific research and the study the collaboration project undertaken to is in light of recent extreme weather events, learning" and "Learning by chance". of paintings. Art conservators, scientists research the artist’s technique. More than the current reality of the environment and and historians utilize X-rays to obtain 70 paintings were studied and analyzed, and sustainable practices and crosses the The Center is willing to disseminate the information that helps them to authenticate the exhibition shows the most significant themes of: right information about conservation and paintings and find new clues about the examples of this research. The exhibition restoration and put up a bridge of mutual artworks’ creative process. X-rays applied to also highlights the three most significant ∫ The effect of tropical climates on cultural trust between collectors and art relics, and easel paintings show details of the canvas, periods during the life of the artist those materials even use our profession for feedback on such as if there is a hidden lining, paint being; Japanese, Shanghainese and ∫ Their unique degradation mechanisms history and culture. loss that is not visible, painting’s material Taiwanese. ∫ The environment and current realities of composition, pentimenti and modifications, collections care We would like to thank the major sponsor but most importantly if there is underlying The exhibition of X-rays also intends to ∫ Standards and principles of conservation Chen Cheng-po Foundation. They have painting. extend and develop the studies of Chen practice in tropical climates made a significant contribution to Cheng-po’s way of work and is a good ∫ The impact of Asia Pacific culture and the development of cultural materials resource for scholars who are interested geography on artists’ material choices, conservation in Taiwan and now in gaining a deeper into the knowledge techniques and artists’ intentions internationally, with the support of of the artist. This is seen in the case of APTCCARN. And other sponsors. Chiayi Park, where X-rays have revealed it Cheng Shiu University is the professional to be the only canvas that Chen Cheng-po polytechnic school in southern Taiwan. In This meeting has been supported by staff painted with two female nudes, whilst all 2005, we set up the Conservation Center of Cheng Shiu University, Taiwan and the the other existing paintings of the artist are managed by the Office of Arts and Culture, Grimwade Centre for Cultural Materials composed with only one female nude. being engaged in the promotion of arts Conservation (University of Melbourne, education and cultural heritage protection Australia) under the auspices of APTCCARN The opening of Looking through X-rays – the work. The Conservation Center integrates all (Asia Pacific Tropical Climate Conservation unknown Chen Cheng-po is on 18 November the studies of conservation and restoration Art Network). We thank you for your 2015 and will run until 4 December. The about national cultural heritage into the commitment and support in ensuring this exhibition has been organized to coincide references, developing the professional meeting is a success. with the APTCCARN 4th Meeting and a paper investigation, with the result that the related explaining the research and results of the departments enable to solve all kind of Cheng Shiu University welcomes participants project will be presented at this conference. problems in the field of conservation and to the 4th APTCCARN Meeting. restoration of works of art. 8 GENERAL INFORMATION PROGRAM 9 Embracing Cultural Materials Conservation in the Tropics the 4th APTCCARN Meeting in 2015 Wednesday, 25th November

8:30 Registration 9:00-9:30 Opening Ceremony Chair: Host Institution: Kung Jui-chang President, Cheng Shiu University Welcome: Dr Rujaya Abhakorn Venue Registration Desk Director, Southeast Asian Regional Centre for Archaeology and Fine Arts (SEAMEO SPAFA), Bangkok The 4th APTCCARN Meeting in 2015 will be Conference attendees to register at the APTCCARN Acknowledgment: Dr Nicole Tse held at Cheng Shiu University in Taiwan. Registration desk of the conference venue Grimwade Centre for Cultural Materials No.840, Chengcing Rd., Niaosong Dist., on Wednesday, 25th November at 8.30 am. Conservation, University of Melbourne, Australia Kaohsiung City 83347, Taiwan ARTISTS & MATERIALITY Name Badges 9:40-10:00 Day One: Re-restoration of Chen Cheng-po’s paintings Getting Around All delegates will be given a name badge Session chaired by: and conservation field practice › MRT Orange Line on registration. We ask that you wear your Dr Ana Labrador Dr Ioseba Soraluze and Li I-cheng From(O10 Weiwuying Station) Exit from name badge at all times. This name badge Conservation Center, Cheng Shiu University, Taiwan No.3, walk to SanDuo Rd. and take bus is also the official entry pass to all sessions, 70A to Kaohsiung Chang Gung Memorial 10:00-10:20 The Materials and Techniques of Singapore teas, lunches and included receptions. Pioneer Artist Georgette Chen: An investigation Hospital then get off at (Cheng Shiu into painting practice and material availability University), or from(O11 FengShan West Eliza O’Donnell and Dr Nicole Tse Station)Exit from No.2, walk to QingNian Speakers Grimwade Centre for Cultural Materials Rd. and take bus O12 to Kaohsiung Chang Conservation, University of Melbourne, Australia Gung Memorial Hospital then get off at Please report to the Registration Desk for (Cheng Shiu University). further details at the notified time in the 10:20-10:40 Study of binders in ground layers of Thai morning of your presentation date. mural painting › MRT Red Line Dr Nichanan Thepsuparungsikul, Pannaporn From(R11 Kaohsiung Main Station) Pusomjit and Tanatat Saingam 1- Take bus 60 to MengLi and get off at Food & Drinks Department of Chemistry, Silpakorn University, Thailand Kwanjit Lertsiri (Cheng Shiu University). Morning and afternoon tea and lunch Thailand Archaeological Division 2- Take bus R30 to Cheng Cing Rd. and get is included as part of your conference off at (Cheng Shiu University). registration. 10:40-10:55 Morning Tea From(R14 Kaohsiung Arena Station)Exit from No.5, walk to XinZhuang First Rd. and 11:00-11:20 Session chaired by: Painting, Mirriwoong culture and learning take bus 217A to NiaoSong Dist. Office Conference Dinner Dr Rujaya Abhakorn through materials then get off at (Cheng Shiu University). Sophie Lewincamp, Peggy Griffiths, Susie The Conference Dinner will be on Collis and Elle Vallier Wednesday, 25th November at the Grand Grimwade Centre for Cultural Materials Hotel Kaohsiung. Conservation, University of Melbourne, Australia

11:20-11:40 A Preliminary Study on the Effects of a Tropical Climate on the Chemical Ageing of Proprietary Artists’ Oil Paints Clare Grech Straus Center for Conservation and Technical Studies, Harvard Art Museums, USA Dr Nicole Tse, Dr Augustine Doronila and Dr Alex Duan Grimwade Centre for Cultural Materials Conservation, University of Melbourne, Australia 10 11

11:40-12:00 Conservation of a French 18th century 9:40-10:00 Day Two: Alternative Conservation Strategies for Hot painted portrait in a tropical environment Session chaired by: and Humid Climates Sarah Davrinche Dr Nicole Tse Dr Shin Maekawa, Vincent L. Beltran and Painting Conservator, France Michael C Henry The Getty Conservation Institute, USA 12:00-12:55 Lunch 10:00-10:20 The practical issues in developing risk 13:00-13:20 Session chaired by: Looking through X-rays: The unknown Chen management strategies for the protection of Julia Brennan Cheng-po cultural material in tropical environments Dr Ioseba Soraluze and Li I-cheng Prof. Robyn Sloggett Conservation Center, Cheng Shiu University, Taiwan Grimwade Centre for Cultural Materials Conservation, Australia 13:20-13:40 Analytical conservation research program for Asian Cultural Materials at the Heritage 10:20-10:40 From Rescue to Training: Developing Local Conservation Centre NHB in Singapore Skills to enable Conservation on the Ground Dr Hanna Szczepanowska, Cindy Lau, Sylvia Dr Ana Labrador, Roberto A Balarbar and Haliman, Sarah J. Benson, Miki Komatsu and Erline S Millar Swee Mun Lee Assistant Director, National Museum Philippines Heritage Conservation Centre, National Heritage Board, Singapore 10:40-10:55 Morning Tea 13:40-14:00 Nineteenth-century Indonesian Islamic 11:00-11:20 Session chaired by: The application of air bags and foam boards in the Manuscripts: A survey of the Michael Abbott Lo Hung-wen conservation of Chinese calligraphy and painting Collection, State Library of Victoria Lin Huan-shen Emily Keppel and Dr Nicole Tse Department of Culture Heritage Conservation, Grimwade Centre for Cultural Materials National Yunlin University of Science & Technology, Conservation, University of Melbourne, Australia Taiwan Des Cowley State Library of Victoria, Australia 11:20-11:40 From A Private Passion to A Public Celebration- a journey in preservation of 14:00-14:30 Afternoon Tea Asian Puppet Theatre traditions Kim Siebert 14:30-16:00 Invited Scholar Reemerging Chen Cheng-po: Head of Collection & Conservation Department, Session chaired by: Historical appearance of paintings under the Taiyuan Asian Puppet Theatre Museum, Taiwan Prof. Robyn Sloggett conservation technologies Prof. Hsiao Chong-rui 11:40-12:00 Utilizing Local Materials to Construct Invisible National Cheng Kung University, Taiwan Mounts for HMQ The Queen of Thailand’s ball gowns Piyamon Oom Kingpratoommas and Joy 16:00-17:00 Site Visits: Exhibition: Looking through X-Rays: Nuchada The unknown Chen Cheng-po Queen Sirikit Museum of Textiles Bangkok, Thailand Conservation Center, Cheng Shiu University, Taiwan 12:00-12:55 Lunch 18:00 Conference Dinner Grand Hotel Kaohsiung 13:00-13:20 Session chaired by: Innovation and Evaluation of Filling losses Lin Huan-shen in Asian painting on paper–The application Thursday, 26th November of Airbrush Technique and Microcrystalline Cellulose Powder COLLECTION CARE & ENVIRONMENTAL REALITIES Liao Hsin-kuan Department of Registration and Conservation, The 9:00-9:20 Day Two: The current situation of collection National Palace Museum, Taiwan Session chaired by: environments in Thailand Tai Chun-shan Dr Nicole Tse Chiraporn Aranyanark and Wanwisa Woraward Conservation Center, Cheng Shiu University, Taiwan National Discovery Museum Institute, Thailand 13:20-13:40 Research into improving backboards for framed 9:20-9:40 Re-assessing the condition of the local museum Asian Paintings in Subtropical Climate Area collections in Central Luzon, Philippines Tai Chun-shan, Shu Miao-hung and Lin Wan-jen Prof. Angel S Recto Conservation Center, Cheng Shiu University, Taiwan Bulacan State University, Philippines 12 13

13:40-17:00 Site Visits: Site Visit 1: 11:20-11:40 Session chaired by: Effect of colloidal silvernano particle in National Science and Technology Museum + The Diana Tay soluble starch stabilizer on antifungal Pier-2 Art Center property in traditional and novel primers for Site Visit 2: concrete wall of mural painting Kaohsiung Museum of Fine Arts + Lotus Pond Nawarat Kaew-On, Dr Pichayada Katemake and Kiattisak Suwannaphong 18:00 Conference Dinner Wo Hotel-Long Bar Department Imaging and Printing Technology, Chulalongkorn University, Thailand

11:40-12:00 APTCCARN Meeting and Working Program

Friday, 27th November 12:00-12:55 Lunch TROPICAL CLIMATES & MATERIALS 13:00-13:20 Session chaired by: Defining investigation parameters in Chen Yu-chun developing a sustainable approach to the 9:00-9:20 Day Three: Cultural materials conservation in the tropics: treatment of biodeterioration using extracts Session chaired by: identifying limits, boundaries and values of the Azadirachta indica plant Anne Carter Dr Nicole Tse Dr Caroline Kyi, Sreekumar Menon, Dr Chris Grimwade Centre for Cultural Materials Donner, Graham Brodie, Karma Yeshay and Conservation, Australia Sharon Cather Grimwade Centre for Cultural Materials 9:20-9:40 Capturing and Sharing Traditional Methods Conservation, Australia of Textile Preservation in South East Asia: An ASEAN Textile Conservation Research Project 13:20-13:40 Severe termite infestation: conservation of Julia Brennan¹ the EDSA Shrine oil mural painting on canvas SEAMEO SPAFA and QSMT, Thailand Maria Bernadita Maronilla-Reyes Caring for Textiles, Washington, USA¹ Museum of Arts and Sciences Conservation Laboratory, University of Santo Tomas, Philippines 9:40-10:00 Salt Weathering of Mural Painting Located on Floodplain in the Lower Chao Phraya River Basin 13.40-14:00 Art Invisible Destroyer - Metal Artifacts Chiraporn Aranyanark, National Discovery Museum Maintenance and Conservation under Tropical Institute Climate in Taiwan Chiraporn Aranyanark and Kwanjit Lertsiri Lee Meng-ken and Chen Yi-tsen National Discovery Museum Institute, Bangkok and Conservation Center, Cheng Shiu University, Taiwan Office of Archaeology, The Fine Arts Department, Thailand 14:00-14:20 INCCA-AP: Highlighting Contemporary Art Conservation in the Asia Pacific. 10:00-10:20 Deterioration assessment of Thai mural Anne Carter paintings suffering from the submergence of INCCA AP, Queensland Art Gallery-Gallery of Modern Art the Thailand’s 2011 Great Floods Dr Nuanlak Watsantachad 14:20-14:40 Afternoon Tea Faculty of Architecture, Silpakorn University, Thailand 14:40-15:40 Panel Discussion 4th APTCCARN Meeting themes 10:20-10:55 Morning Tea 15:40-16:00 Acknowledgments and Closing Ceremony 11:00-11:20 Session chaired by: Preservation of Tracing Paper: Case Study of Diana Tay TRA Archives Chen Shu-mei National Chengchi University Dr Yen Su-fen National Palace Museum, Taiwan Tsai Fei-wen Associate Professor, Graduate Institute of Conservation of Cultural Relics and Museology, Tainan National University of the Arts 14 15 ABSTRACTS (BY PROGRAM ORDER) Re-restoration of Chen Cheng-po’s The Materials and Techniques of Study of binders in ground layers of paintings and conservation field Singapore Pioneer Artist Georgette Thai mural painting practice Chen: An investigation into painting practice and material availability Nichanan Thepsuparungsikul,¹ Ioseba I. Soraluze and Li Yi-chen Kwanjit Lertsiri,² Pannaporn Pusomjit,¹ Tanatat Saingam¹ Conservation Center, Cheng Shiu University Eliza O’Donnell,¹ Nicole Tse¹ and Amerrudin Chemistry, Silpakorn University, Thailand¹ [email protected] Ahmad,² and Office of Archaeology, The Fine Arts Grimwade Centre for Cultural Materials Department² This paper will discuss the complex process of Conservation, University of Melbourne¹ and [email protected] conservation and how malpractice may affect Balai Visual Seni Nagara (National Art paintings by altering the physical structure and Gallery Malaysia)² aesthetic of artworks. Incorrect treatments that Tamarind kernel glue has been reported as were carried out on a group of Chen Cheng-po’s [email protected] a binder in the ground layers of Thai mural paintings resulted in negligent conservation. The paintings since the reign of King Rama I. This application of a wax-resin lining, and retouching The establishment of the Nanyang Academy A comparison of historical, archival and technical is due to its excellent adhesion property and on original surfaces completely damaged the of Fine Arts (NAFA) in 1938 in Singapore was information focused on the availability and the convenient availability of tamarind seeds in paintings. For that reason, a re-restoration synonymous with the emergence of a new artistic distribution patterns of artists’ materials in Thailand. However, there have been difficulties project of Chen Cheng-po’s paintings began style and the rebirth of Chinese painting in Malaya Singapore when the Pioneer artists arrived in the in its preparation and in preservation. At with the aim to remove alterations and damage. and Singapore (Hsu 1999, p. 123). NAFA teachers years following the Second World War. Textual present, Thai mural painting conservators have Scientific analyses such as X-ray fluorescence and Pioneer artists’ Georgette Chen (1906-1993), documentary sources included art historical also applied gum acacia as a binder with its (XRF), Scanning electron microscopy with energy Chen Wen His (1906-1992) and Liu Kang (1911- literature, exhibition catalogues, newspaper convenient preparation. There has, however dispersive X-ray spectroscopy (SEM-EDX), 2004) are widely recognized as influential figures articles, advertisements, trade directories and been no comparative study on the quality of Fourier transform infrared spectroscopy (FTIR) in the early development of modern art in Malaya, transcripts of oral history interviews, as there tamarind kernel and gum acacia glues. In this and cross-sections were undertaken to gain a however few studies have been undertaken on was limited direct written references to materials study various types of glue, namely gum acacia complete understanding of the paintings. A new their painting materials and the availability of utilized. The documentary source research is glue, tamarind kernel glue and xyloglucan glue way to remove the wax-resin lining without the artist quality materials in Singapore following augmented by an in-situ technical analysis being common to Thailand, were characterized in need for solvents was developed with the use of the end of the Second World War. While NAFA and materials analysis of paintings by Liu Kang terms of morphology, viscosity and adhesion with the hot-vacuum table. Furthermore, colourimetric students, alumni and Pioneer artists of Singapore and Chen Wen Hsi. Evidence suggests that the scanning electron microscope (SEM), viscometer studies were carried out to understand and created a demand for trade and distribution of availability of proprietary materials signaled a and scratch adhesion tests. In addition, the evaluate the effect of hot-vacuum treatment on art materials, the outbreak of the Second World shift in artistic practices with the adoption of denaturation of glue was tested at room the colours. War in 1939 (ending in 1945), significantly new synthetic paints. Furthermore, this study temperature. affected material availability and artistic practice examines the suggested use of proprietary The retouching and varnish applied to the during this time. Two important distinctions in materials by other Pioneer artists with paintings in the first restoration totally modified material availability can be considered; artist Synchrotron Radiation (SR) micro FTIR (µFTIR). the aesthetic of Chen Cheng-po’s work. quality materials and non-artist quality materials, Large areas of original paint were covered by typically commercial household paints. The retouching, and the poor technique also reduced widespread availability of proprietary household the quality of the paintings. Re-restoration was paints at this time, largely facilitated by British required to remove all the filling and retouching paint manufacturer Imperial Chemical Industries without affecting the original paint, with the aim (ICI) and local company P.A.R Malayan Paintworks of rediscovering the original colours and the LTD, highlights precedence for artist’s use of artist’s intention. commercially available household paints in the region. This project shows how negligent restoration treatment may produce alterations and damage The study contributes to an understanding of the in paintings. Critical thinking together with an Pioneer artist’s material preferences throughout understanding of the artist’s intention may help the mid twentieth century, and the availability of to avoid damage to artworks during conservation, artist quality materials in Malaya from 1950. preserving them in a better way. 16 17

Painting, Mirriwoong culture and A Preliminary Study on the Effects Conservation of a French 18th Looking through X-rays: learning through materials of a Tropical Climate on the century painted portrait in a The unknown Chen Cheng-po Chemical Ageing of Proprietary tropical environment Peggy Griffiths,¹ Kenny Griffiths,¹ Catherine Artists’ Oil Paints Ioseba I. Soraluze and Li Yi-chen Cummins,¹Sophie Lewincamp,² Elle Vallier² Sarah Davarinche Conservation Center, Cheng Shiu University and Susie Collis² [email protected] Claire Grech,¹ Nicole Tse,² Augustine Painting Conservator, France Waringarri Aboriginal Arts Centre¹ and Doronila³ and Alex Duan³ [email protected] Grimwade Centre for Cultural Materials X-ray photography has become an essential tool Harvard Art Museums, Straus Center for Conservation, University of Melbourne² for understanding artists’ techniques as well Conservation and Technical Studies,¹ This study on the conservation treatment of the [email protected] as their individual creative habits. This paper Grimwade Centre for Cultural Materials Portrait of Raoul de la Picardière by de L’Hospital, oil on canvas dated 1787, was undertaken at the presents the results of a scientific analysis of Conservation, University of Melbourne² and Painting is an important method of teaching Institut National du Patrimoine (French National Chen Cheng-po’s style of work and delves deeper younger generations within Miriwoong culture of School of Chemistry, University of Melbourne³ Institute of Cultural Heritage) in 2013-2014 as into the knowledge of his artworks. Of the 74 the eastern Kimberley in Western Australia. The [email protected] final year project. The work is a classical painted oil paintings investigated, X-ray photography paintings are the physical embodiment of lore portrait from the end of the 18th century, which revealed underlying layers in 25 (34%) of them. stories and community, and through the practice Significant holdings of oil paintings exist today was relocated to Reunion Island in the Indian As a result of this finding, Chen Cheng-po is of painting and younger people watching elders, in tropical climatic bands, however very little is Ocean a few years after it was painted. Since shown to be one of the most nonconformist knowledge is transferred. The tradition of story- definitively known about the long-term chemical then it has been exhibited in a typical plantation Taiwanese painters. The research also focused telling is passed down to keep culture, community ageing behaviour of paintings constructed and mansion, almost without being modified and is a on the reasons for the artist’s decision to modify and paintings alive. conditioned within these climatological zones. perfect example of the ageing of an 18th century the paintings either partially or, in some cases, Although other studies have investigated the painting in a tropical environment. completely. Paintings with the subject of a nude Collaboration with Waringarri Arts and the effects of simulated high relative humidity and female were the most changed, compared with Grimwade Centre for Cultural Materials temperature on oil paint films, there is a shortage The examination of the painting revealed various paintings of landscapes, which were almost Conservation, revisited the value of cultural of regionally relevant research. This paper degradations that justified a full conservation unaltered. Economic and aesthetic considerations materials conservation in the context of presents a multi-analytical study on the chemical treatment, but the general state was surprisingly were the main reasons for changing the paintings Miriwoong artists and community. The sourcing ageing behaviour of samples from two proprietary good. A simple climate study was conducted with during his Japanese, Shanghai and Taiwanese of traditional ochres and mixing these with artists’ oil paint brands, Winsor & Newton and the C2RMF (Centre of Research and Conservation periods. This study also discusses the reasons water and acrylic binders at various ratios and Marie’s, which were naturally aged in a tropical of French Museums) in order to describe and why the canvases that Chen Cheng-po painted application techniques, strengthens a material climate. These were compared to corresponding understand the risks and the advantages of in the studio were more modified than those understanding and informs future conservation films that had been aged in a temperate climate, the climate in traditional architecture in a painted outdoors. of the works of art. This begins to fill the gap on a set of baseline films and fresh samples, where Creole sugar cane plantation (the study is still Australian Indigenous ochre paintings that are available. GC-MS, FTIR-ATR and ESEM-EDS undergoing). The conservation treatment was held in public and private collections nationally were used to establish an understanding of the undertaken in view of the features of an indoor and internationally. composition of the proprietary formulations tropical climate. Appropriate conservation and the differences in chemical composition materials and treatments were chosen: following ageing in the separate environments. shear tests helped to check the behaviour of Significantly, the presence of certain commonly the common adhesives used in strip-lining included additives, such as aluminum stearate, (Plextol®B500 and Beva®371) by comparing the were suggested to be linked to increased results in temperate and tropical environments. degradation in tropical climates. This research Finally, preventive conservation recommendation provides an important preliminary understanding has been given considering the exhibition of the of the differences in degradation mechanisms panting in its historical environment. between the two climates, and the role of formulation on these processes. 18 19

Analytical conservation research Nineteenth-century Indonesian The current situation of collection Re-assessing the Condition of program for Asian Cultural Islamic Manuscripts: A survey of environments in Thailand the Local Museum Collections in Materials at the Heritage the Michael Abbott Collection, Central Luzon, Philippines Conservation Centre NHB in State Library of Victoria Chiraporn Aranyanark and Wanwisa Woraward Singapore National Discovery Museum Institute, Prof. Angel S. Recto Bangkok, Thailand Emily Keppel,¹ Nicole Tse¹ and Des Cowley² Bulacan State University [email protected] Grimwade Centre for Cultural Materials, [email protected] Hanna M. Szczepanowska, Cindy Lau, Sylvia [email protected] Haliman, Sarah J. Benson, Miki Komatsu University of Melbourne¹ and State Library of Victoria, Australia² The Philippines is situated in the tropics and Swee Mun Lee The problems of conserving cultural materials are [email protected] where climate has a strong influence on local Heritage Conservation Centre, National very complex in hot and humid climates. Extreme museum collections. Central Luzon, also Heritage Board, Singapore climate, excessive light, insects, microorganisms, known as Region III, is located at the heart of The Michael Abbott Islamic Manuscript Collection [email protected] rodents, salts and pollutants are among the the island of Luzon which consists of seven was donated to the State Library of Victoria in common factors that affect cultural materials provinces: Aurora, Bataan, Bulacan, Nueva Ecija, 2012 and is comprised of 50 handwritten and The Heritage Conservation Centre (HCC) of the in Thailand. Environmental conditions play an Pampanga, Tarlac and Zambales. This region is printed items, in various languages including National Heritage Board (NHB) in Singapore important role in controlling the deterioration noted for experiencing more than 20 typhoons Arabic, Malay and Javanese. While mostly is embarking on establishing a research mechanisms to which materials are susceptible, per year, with temperatures during dry season produced in Indonesia during the 19th and program dedicated to analysis and materials but standards developed for temperature and reaching 38°C–40°C in the city of Tuguegarao early 20th centuries, some manuscripts also characterization of museum collections in the humidity levels are difficult to attain in tropical in the province of Nueva Ecija. Other provinces originate from Turkey, Singapore and India. As the Asia Pacific Region. The process is three-pronged: climates. At present, we are lacking in well- experience flooding during rainy monsoon manuscripts have become detached from the first to establish the analytical laboratory, second trained, experienced museum staff, architects season (June–November), and very high heat society and culture in which they were originally to design a sustainable research program, and and engineers who understand the implications and humidity in the months of April–May due to produced and used, an object-based investigation third to develop a training and regional outreach of these requirements. As a result, buildings their proximity to coastal areas. The extreme was utilized to examine the manuscripts for base. The research process is exemplified by often have inadequate ventilation and airflow, variation of temperatures in the region where material evidence of their historical record. A the material characterization and analysis of with air-conditioners used in service areas for some provinces are situated in the mountains, range of factors such as geography, culture, deterioration of artefacts made in China, India human comfort during working hours, while those while others are located near bodies of waters, trade, religion and technological change were and Singapore, dating from the early to mid- in storage areas are restricted in use by energy may affect museum collections. There are four likely influences on the bookbinders’ choice 19th to the mid-20th century. Study of the saving policies. kinds of museums in Region III: city, municipal, of materials and techniques. Acknowledging morphology, surface topography and chemical ecclesiastical, and private museums. The city and the limited cultural agency of the collection, a composition of various materials used in making During the last 20 years, large-scale outbreaks municipal museums are managed and financed detailed survey was designed to collate existing those artefacts employed SEM-EDS and FTIR- of fungi have caused serious problems in by the government, while ecclesiastical and information, as well as generate new knowledge ATR techniques. The analyzed materials included many air-conditioned buildings. In particular, private museums are administered by private of the manuscripts. A visual database was also pigmented glass in Peranakan/Chinese glass a group of xerophilic fungi have physiological individuals. created to provide non-text access points to beaded slippers; clay with fillers in a Bengalese mechanisms that enable their biochemical the collection. Reflected and transmitted light statue; and ‘gold’ printed textile in a Singaporean pathways to function in environments where This paper will present an assessment of photography and digital microscopy were used to garment. The analytic results demonstrate the little water is available. Profuse growth of these the current condition of museum collections reveal specific features of the manuscripts, such uniqueness of materials and techniques used xerophilic fungi was identified as Penicillium, (as results of curators’ management and as watermarks, printing and binding techniques. in the Asia Pacific region and deterioration Aspergillus and Eurotium species. Insects also administration) that are continuously exposed to Materials such as European papers, woven rattan processes associated with the tropical climate. cause irreparable damage. In addition to outdoor the changing climate, natural and artificial, in the and dluwang were observed in the manuscripts, The pursuit and design of a sustainable pollutants, collections are suffering from indoor- Central Plain of Luzon. as well as variations on the traditional Islamic outreach program adopts multidisciplinary and generated air pollutants from unstable materials. bookbinding structure. The use of such materials collaborative strategies by reaching out to the Therefore, a challenge remains for museum staff, and techniques in relation to the intended expertise of the existing regional resources, librarians, archivists, architects and engineers mobility and functionality of the manuscripts university research laboratories and heritage to design more climate-responsive buildings. is also considered. Although not culturally- centers in the Asia Pacific Region. Environmental control in tropical climates informed, this object-based research approach requires consideration from the very beginning has offered a starting point for reinstating the of the planning process, through design and intangible, cultural connections of the collection. construction, to the final installation of the equipment and objects. 20 21

Alternative Conservation Strategies The practical issues in developing From Rescue to Training: The application of air bags and for Hot and Humid Climates risk management strategies for the Developing Local Skills to enable foam boards in the conservation of protection of cultural material in Conservation on the Ground Chinese calligraphy and painting Dr Maekawa Shin, Vincent L. Beltran and tropical environments Michael C Henry Dr Ana Labrador, Roberto A Balarbar and Lin Huan-shen The Getty Conservation Institute Prof. Robyn Sloggett Erline S Millar National Yunlin University of Science & [email protected] Grimwade Centre for Cultural Materials National Museum of the Philippines Technology, Department of Culture Heritage Conservation, University of Melbourne [email protected] Conservation In recent years more cultural institutions in hot [email protected] [email protected] and humid climates have been installing air- The challenge to any heritage site managers after conditioning systems to protect their collections a devastating incident of a natural disaster is to Mounting is an important component in the and provide comfort for both employees and A major concern for countries in Southeast Asia, be able to retrieve as much as possible materials conservation and restoration of cultural heritage visitors. This practice, however, can pose and across the Pacific and Indian Oceans region to enable reconstruction and gain, as soon in the form of Chinese calligraphy and painting. In complications, including problems of installation is how best to manage and mitigate these risks, as possible, a normal level of a heritage site's the modern era, framing with the plywood supports and maintenance as well as structural damage to and how best to respond to them when they functional and social roles. The usual yardstick has become the mainstream form of mounting buildings, while failing to provide collections with occur. Natural disasters including cyclones, used by site managers is to restore what was due to ease of handling compared to traditional a viable conservation environment. earthquakes, floods, landslides and fires occur annually and cause significant damage. Civil in place before disaster struck. In communities scroll mounts. The high humidity and temperature in the island province of Bohol in the central in Asian climates, however often cause the artworks Recently a book was published that offers disturbance, economic interventions, and Visayas, struck by a devastating earthquake to fox or become distorted when mounted this hands-on guidance to the specific challenges post-trauma reconstruction also affect the on October 12, 2013 and in which discordant way. The foxing and distortions are caused by involved in conserving cultural heritage in hot preservation of cultural material in tropical interests often slowed the pace of recovery the plywood support. Further plywood is acidic and humid climates. Initial chapters present climates. Levels of responses vary and invariably among the churches that were declared National and readily absorbs the moisture in the air. This scientific and geographic overviews of these include international, regional, national and local; Cultural Treasures, different approaches have to paper explains how to combine traditional air climates, outline risk-based classifications each with its own particular mechanisms for be made from the top down, including responses bags made from mulberry paper and the modern for environmental control, and discuss related dealing with the threat, mitigating the impact, from the Roman Catholic Church hierarchy. Most conservation material of foam boards, to replace issues of human health and comfort. The authors and managing the effects of the disaster. of the more dramatic changes on these churches acidic plywood supports in order to mitigate then describe climate management strategies Focusing on a number of case studies this were made in the 20th century, prompting the foxing and keep the artworks flat. that offer effective and reliable alternatives to paper describes these layers of responses. It examines how local cultural practice intersects declarations before the earthquake to ensure conventional air-conditioning systems and that their heritage values were preserved. In this require minimal intervention to the historic fabric and influences the efficacy of risk management strategies, and explores the role of local paper, I will show the steps we have taken after of buildings that house collections. The book getting past remedial first aid approaches to concludes with seven case studies of successful knowledge in understanding how to develop effective risk management strategies for both built heritage and moveable heritage and climate improvement projects undertaken by the was deemed by managers of sites as wanting. Getty Conservation Institute in collaboration with the protection of cultural material in tropical environments. Regaining ruined heritage materials - and in the cultural institutions around the world. Appendixes case of Bohol, living heritage - has become part include a unit conversion table, a glossary, and a of site managers and conservators' mainstream full bibliography. concerns in many parts of the world as a result of extreme weather patterns and our dynamic This book is an essential tool for cultural heritage environment. The new Normal has come before conservators and museum curators, as well us and the lessons we have learned from recent as other professionals involved in the design, experiences should help us anticipate future risks. construction, and maintenance of museums and other buildings housing cultural heritage collections in hot and humid climates. 22 23

From A Private Passion to A Utilizing Local Materials to Innovation and Evaluation of Research into improving backboards Public Celebration – a journey Construct Invisible Mounts for HMQ Filling Losses in Asian painting on for framed Asian Paintings in in preservation of Asian Puppet The Queen of Thailand’s ball gowns paper – the application of Airbrush Subtropical Climate Area Theatre traditions Technique and Microcrystalline Piyamon Oom Kingpratoommas and Joy Cellulose Powder Tai Chun-shan, Shu Miao-hung and Kim Siebert and Alex Ma Nuchada Lin Wan-jen Queen Sirikit Museum of Textiles Bangkok Conservation Center, Cheng Shiu University Taiyuan Asian Puppet Theatre Museum, Taipei Liao Hsin-kuan¹ and Tai Chun-shan² [email protected] [email protected] [email protected] Department of Registration and Conservation, The National Palace Museum, Taiwan,¹ and The Taiyuan Asian Puppet Theatre Museum The mannequins developed by Historic Royal Asian paintings are still frequently mounted in Palaces for living British royalty, are an apt Conservation Center, Cheng Shiu University² the form of framing. A major problem of this (founded in 2000) is part of the Taiyuan [email protected] Foundation, which includes the Taiyuan Puppet prototype for the QSMT conservation team mounting style is that the wooden backboard Theatre Company, the Nadou Theatre, Taiyuan to replicate for the display of Her Majesty the is in direct contact with the painting’s paper Conservation materials have become an important Publishing and Taiyuan Film. The Museum works Queen of Thailand’s couture dresses. Through substrate. As we know, in an environment of high area of study in recent years. This paper discusses closely together with these organizations which cross trainings between the two royal museums, temperature and humidity, wooden backings can the treatment of filling losses with microcrystalline results in gains in creativity, capacity, exchange the QSMT has experimented and sourced local easily produce acidic by-products, which cause cellulose powder mixture by airbrush in paper and sustainability: a potent combination in the materials in order to create a more bespoke foxing on the paper. Nevertheless, these materials conservation, as applied to severely damaged Asian preservation and presentation of the art of approach to its mannequins. The multiple steps cannot easily be replaced in the framing of Asian paintings on paper. The technique of filling losses Asian puppetry. Thus the Museum performs its to create a viable conservation-grade invisible paintings by many mounting studios. The wooden has been widely recorded by conservators since museological duties, but it also cooperates with form will be reviewed and discussed. board is not only inexpensive and lightweight, ancient Chinese literature. It is suggested that the of a team of performers, technicians, educators but easily available. Most importantly, the wood infill paper needs to be of a similar thickness to the and patrons with a loyal and expanding audience, The ideal Perspex (Plexiglas) UK form, is not and the painting’s paper fibre have a similar original, and must not cause damage to the object. to share a creative vision. feasible in Bangkok. The plexi crafters are unable expansion and shrinkage rate in response to to replicate the British forms in a highgrade plexi, It should be noted, however, that there have been moisture, thus helping to keep the painting flat. few attempts to develop a technological approach The Conservation Unit is the guardian of the or work on a one-to-one basis with the museum. However, if the wooden backboard is stored in an to materials in the tropical Taiwanese climate. unique collection of over 10,000 Asian theatre The papier-mache prototype, while doable, is environment of severe temperature fluctuations Since filling losses in paper is a time-consuming objects. We work on the preservation and time consuming, and the material is difficult to and exposure to light, it can release various technique, this study attempts to find a new method interpretation of a unique cultural legacy with fully dry in tropical climate. Similar difficulties acidic by-products and cause deterioration of the for filling losses safely by using the reversible filling our sights on the future. This paper charts the are encountered with bukram, where the starch paper substrate. Conservators at some museums material, microcrystalline cellulose powder mixture. evolution of the private collection of Dr Paul Lin component has a tendency to mildew in high have gradually been selecting acid-free materials into a museum with professional standards of humidity. to make backboards. However, due the possibility A two phase approach was developed to explore practice and an international reputation, and the of distortion, inaccessibility, and high cost, the design and application of microcrystalline conservation challenges of the collection. We are The final solution is a fiber glass dress form, in collectors would prefer the wooden backboard cellulose power mixture as an infilling material. The situated in a beautiful 1920s building (with all its the required size, and professionally cut down by instead of choosing an acid-free material. This experiment sought to determine the appropriate related problems), which is on a tropical island the manufacturer. After sealing the raw edges research will focus on the comparison of different formulation and viscosity of microcrystalline in a hurricane and earthquake zone. Puppet with a paper coating, and off-gassing, the forms materials for backing boards in subtropical cellulose powder mixture, and then to use an performances and temple celebrations still take are buffered with imported or local materials. climate areas. We will look into developing a new airbrush to spray the mixture to cover areas of loss place on the streets around the museum, so we Then the visible interior cavity and outer surface way to mount and frame Asian paintings by using on the paper object. Two different conservation case are part of a living culture and share its vitality. can be customized and tailored. safer and less expensive materials as backing studies were undertaken: the conservation of a xuan boards to protect the integrity of the artworks. The result is that fiberglass suits the needs paper hand scroll affected by mold and rot, and the and capacity of the QSMT best; it is more light inpainting of improperly conserved Chinese religious weight than plexi or papier mache; it is strong painting. enough to support heavy gowns; it is a readily available local product; cost effective; and the To conclude, this study offers an alternative local manufacturers can modify the forms and resource-saving method for filling losses and collaborate on a form-by-form basis. inpainting areas of loss on paper by using a reversible method to avoid causing irreversible staining to the original. We are hopeful that future research will provide more detailed results which may further develop this new treatment technique. 24 25

Cultural materials conservation Capturing and Sharing Traditional Salt Weathering of Mural Painting in the tropics: identifying limits, Methods of Textile Preservation in Located on Floodplain in the Lower boundaries and values South East Asia: An ASEAN Textile Chao Phraya River Basin Conservation Research Project Dr Nicole Tse Chiraporn Aranyanark¹ and Kwanjit Lertsiri² Grimwade Centre for Cultural Materials Julia M Brennan¹ and organized and funded National Discovery Museum Institute, Conservation, The University of Melbourne by SEAMEO SPAFA and QSMT Bangkok, Thailand,¹ and Office of Archaeology, [email protected] Caring for Textiles, Washington¹ The Fine Arts Department, Thailand² [email protected] [email protected] The preservation of works of art in tropical [email protected] Southeast Asia presents many challenges. There The objective of this twelve-country Southeast are vast traditional and modern collections, Asian project is to collect and study the use of The Chao Phraya River is a major river in Thailand, This problem requires urgent and appropriate yet the guidelines for preventive care and indigenous plants, cleaning techniques, and with its low alluvial plain forming the centre of the interventions with collaboration between different conservation treatment are yet to be fully knowledge in traditional textile care. Textiles have country. This area has a wet monsoon climate, disciplines. Research projects and training realized. The increasing risk of natural disasters long been an integral part of Southeast Asian culture and heavy rains cause significant flooding every programs are necessary to solve this problem. such as the recent earthquake in Bohol and and identity. With Increased commercialization, year. The worst flooding occurred in 2011 when All restorers should have special training to Typhoon Haiyan in the Philippines, have had technology, and urbanization, age-old preservation 65 provinces were declared disaster zones. understand the deterioration mechanisms and devastating effects on cultural collections. practices are disappearing. Without the systematic After investigation of mural painting located on remedial actions. Further, issues of sustainability and responsible collection of these stories, practices and customs, floodplain in the lower Chao Phraya River Basin, museum governance are issues for cultural a rich and broad tradition of textile preservation the authors found that salt weathering is the material conservation to engage with in the area techniques that could inform and benefit current major cause of deterioration. The decay of mural of education; operations particularly in terms of and future generations will be lost forever. These painting is attributed to the action of soluble salts environmental controls and microclimates; and practices can guide conservation stewards to present in the walls. The repeated crystallisation Asian focused capacity building and community better care for the textile heritage (both tangible and dissolution of the salts causes the wall to participation. Lastly regionally relevant cultural and intangible) in each of the participants’ disintegrate and the soluble salt to effloresce, materials conservation measures and practices respective countries. Moreover, many of these with damage visible both on the surface and are continually evolving from dominant methods are low cost, equal or better than within the porous structure of the wall. international approaches and re-contextualized chemical solutions, and are locally sustainable. in various geographic locations. In engaging This project, aims to collect physical data, stories After the 2011 flooding, it was observed that with these issues, there are opportunities and and recipes on three topics: cleaning, stain most mural painting in this area is increasingly boundaries. This paper reports on the feasibility removal and traditional knowledge. After the four- disintegrating. Chemical and physical analysis of of frameworks for the collections care and month research period, participants will attend salt efflorescence and subflorescence revealed conservation of works of art located in tropical a regional forum in Bangkok in 2016, to present the presence of halite, thenardite, mirabillite, Southeast Asia, whether as local practices or and compile their stories and research, share their gypsum, calcite, hexahydrite and epsomite, soda regional alternative approaches. It focusses on data, and make traditional recipes, with the final nitre, and several other complex salts. The extent interactions and outcomes from case studies output being a publication edited by the organizers of deterioration corresponds to rising moisture. in the Philippines, Malaysia and Thailand to (SEAMEO SPAFA and QSMT). The walls, built of brick and lime mortar/plaster, explicate discussions. are porous, hydrophilic and permeable by water An important part of this project is the analysis of and vapour. The effect of salt weathering is most the materials; their chemical properties and active obvious in the dry period (November–April) as ingredients as compared with standard synthetic evaporation increases levels of super-saturation and natural products used in textile conservation of solution in confined spaces. In addition, high practice today. The identification of plant biology temperatures increase evaporation rates and and their correlation to modern chemical products crystallization pressure. It was also found that is paramount to the project. A scientific advisor, the critical relative humidity point for dissolution will oversee the analysis of the plant based materials, of these salts falls within the typical ranges of and direct experiments to replicate and test them. relative humidity observed in this area. These Thereby, commonalities between traditional and salts can cycle frequently between solution and modern practices will be quantified through solid. analysis and testing, and supported by a publication. 26 27

Deterioration assessment of Thai Preservation of Tracing Paper: Case Effect of colloidal silvernano Defining investigation parameters mural paintings suffering from the Study of TRA Archives Preservation particle in soluble starch stabiliser in developing a sustainable submergence of the Thailand’s of Tracing Paper: Case Study of TRA on antifungal property in traditional approach to the treatment of 2011 Great Floods Archives and novel primers for concrete biodeterioration using extracts of walls of mural painting the Azadirachta indica plant Dr Nuanlak Watsantachad Chen Shu-mei¹ and Yen Su-fen² Faculty of Architecture, Silpakorn National Chengchi University¹ and National Nawarat Kaew-On, Dr Pichayada Katemake Dr Caroline Kyi,¹ Sreekumar Menon, Chris [email protected] Palace Museum, Taiwan² and Dr Kiattisak Suwannaphong Donner, Dr Graham Brodie, Karma Yeshay [email protected] Department Imaging and Printing Technology, and Sharon Cather Thailand suffered dramatically from the great Chulalongkorn University, Thailand Grimwade Centre for Cultural Materials floods in 2011. Ancient temples in the flooded Taiwan is located in subtropical regions. Its [email protected] Conservation, University of Melbourne¹ areas were significantly damaged. Wat Pa Klang high humidity and temperature is a challenge [email protected] Thung, located on the west bank of the Chao to archives preservation. Even though National Traditional primers for mural painting and Phraya River within the Province of Pathum Thani, Archives Administration (NAA) provides traditional preparations of the concrete wall was submerged in the floods for four months with repositories with controlled environment for To seek sustainable alternatives in the treatment are sometimes used nowadays for conservative apparent damage. The mural paintings and walls national archives, some archives were already of biodeterioration of immoveable heritage, we have reasons. Along with the traditional primers and of its ordination hall were critically deteriorated. degraded before transferred due to poor undertaken preliminary investigations to evaluate preparations, in many temples, the non-traditional This presentation aims to discuss the results of management in their original organizations and the suitability of extracts of Azadirachta indica. The preparation is regularly used because it is more the qualitative and quantitative assessment of the fragile materials. NAA’s archival holdings of Taiwan plant species Azadirachta indica, more commonly convenient and more durable to climate change. deterioration problems occurring on the mural Railways Administration (TRA), MOTC date back known as the neem or margosa tree, is native to This research investigated an effect of silver paintings and walls after the floods. The assessment to 1895 when TRA was ‘The Railway Department India and the Indian sub-continent. Properties nanoparticle as an additive in the traditional and was carried out with: 1) photographic surveys and of the Traffic Bureau of the General Governor of attributed to various parts of this plant have seen novel primers for the concrete wall surface used manual condition assessment over existing Taiwan’ and belonged to the Japanese Colonial its use as a topical antifungal treatment and an for mural painting. Traditional primers that use architectural drawings and/or printed rectified government. This collection, including thousand insect repellent in traditional forms of medicine plant components as a binder were selected for photographs; 2) digitisation of the recorded pieces of engineering drawings, contains varied (Koul 1990; Biswas 2002). Recent investigations study, and prepared with 5 different ratios of deterioration problems using AutoCAD computer types and a large number of archives with to evaluate the commercial properties of neem in natural pigment (clay from Lopburi province) program; and 3) quantitative assessment of date range from approximately 1895 to 1997. integrated pest management (IPM) have isolated to binder (tamarind glue from Petchaboon deterioration degrees using AutoCAD and Microsoft To preserve these degraded archives, NAA compounds and fractions with insect treatment province). Two optimised formulations were Excel programs. The assessment yields two sets implemented traditional mounting methods to effects. These have since been made commercially chosen by considering viscosity, opacity and of accurate deterioration data, including a set of repair. This article notes down tracing papers’ available (Gahukar 2000). levelling properties by painting on dried primer maps of the mural and plaster deterioration sorted conditions before and after repair to study if the applied on a concrete slab (15 x 21cm). A survey by types of problems, and a set of quantitative mounting materials and methods are suitable For the researchers involved in these current of artists from the Fine Art department, the assessment of the deterioration. The maps could and whether or not the engineering drawings investigations, it is important that the approach Ministry of Culture, was also used to measure be used to identify the locations where each remain authentic afterwards in NAA’s preservation adopted is conservation-relevant and scientifically satisfactory application. deterioration problem occurred, while the conditions. sound. As a result, contributions from conservation quantitative deterioration assessment could be practitioners, conservation scientists, chemists and In addition, we optimized the novel primer, which used to compare the degrees of the mural and specialists in biodeterioration and forestry have consists of commercial pigments (titanium plaster deterioration, and to rank the susceptibility been welcomed. In addition, the opportunity to dioxide and aluminium silicate) and acrylic binder, to deterioration of the walls. In accordance with evaluate locally available and unprocessed forms of in the same way as the traditional one. other collected environmental data, both neem plant extract on site at Ahhichattragarh fort Subsequently, the silver nanoparticle was added assessment data sets could be helpful for further and palace complex, Nagaur, Rajasthan, India, has to both types of optimized formulations and investigating the actual causes of deterioration. provided us with direct access to conservators with antibacterial properties were tested with bacteria local knowledge of the uses and properties of neem. found on the mural painting surface from Dusidaram Working with this group, and other contributing temple in Bangkok, Thailand. The growth of the researchers, has played a significant role in informing bacteria was effectively inhibited by the presence the developing research pathway. This paper of silver nanoparticle in the novel primer mixture. reports on the experience, findings and discussions that have been influential in guiding further investigations into neem-based approaches in the treatment of biodeterioration of immoveable heritage. 28 29

Severe termite infestation: Art Invisible Destroyer – Metal INCCA-AP: Highlighting Conservation of the EDSA Shrine oil Artefacts Maintenance and Contemporary Art Conservation in mural painting on canvas Conservation under Tropical the Asia Pacific Climate in Taiwan Maria Bernadita M. Reyes Anne Carter Museum of Arts and Sciences Conservation Lee Meng-ken and Chen Yi-tsen INCCA AP, Queensland Art Gallery-Gallery of Laboratory, University of Santo Tomas, Manila Conservation Center, Cheng Shiu University Modern Art [email protected] [email protected] [email protected]

Severe termite infestation resulted in the loss In tropical Taiwan, humidity, high temperatures In late 2014, the International Network for the of around 80% of the canvas in one of the four and a monsoon climate characteristic of an Conservation of Contemporary Art-Asia Pacific panels of the EDSA Shrine’s oil mural painting island environment create several conservation (INCCA-AP) was established as a regional mounted on plywood. Eight colonies of termites challenges for works of art from large-scale group of the international group INCCA. This were discovered tunnelling into the concrete outdoor metal sculptures to indoor historical presentation describes the aims and digital walls from plant boxes outside the building. Initial metal artefacts. These metal objects can be presence of INCCA-AP over the past year. It work required eradication of the termites’ source divided into patina, painted and pure metals. asks questions of the audience about their and reduction of moisture from the exterior wall. The patina metal is usually a copper alloy, experiences and challenges with contemporary Preparation of the interior wall behind the panels which can protect and enhance the aesthetic art conservation in the region. included waterproofing, polyester insulation appeal of the metal material. But as the patina and application of a lime-based plaster. Several compound belongs to the surface layer, it is layers of RK-0 tissue, Chiang-mai tissue, gauze affected by biological excrement, acid rain, water and cheesecloth were used as facing prior to de- and sunlight, causing the appearance of uneven installation. colour. We have found the best conservation approach to be repatination and the application Treatment of the damaged artwork followed of wax coating. the five basic steps: 1) cleaning, 2) chemical stabilization, 3) physical stabilization, 4) Painted metal is very complex and difficult to aesthetic unity and 5) protection with ultraviolet- maintain, with ferrous metal a typical material stable varnish. After cleaning the back of the for protection. Under strong ultraviolet radiation painting where most of the canvas was eaten by and rain, the paint will peel off and adsorb water termites, the paint layer soiled with frass was vapour, causing damage to the metal body. In swabbed with peroxide, flattened with tissue, addition to regular checks and documentation, brushed with cellulose fibre reinforced plaster re-painting is necessary from time to time in and relined with de-acidified canvas. The line with conservation ethics to improve the restored painting exhibited shrinkage in size appearance and to protect the metal. Pure with wrinkling of paint. It was mounted on a metals such as copper and aluminium form an customized stretcher in lieu of the plywood and oxide and a thick mineral deposit on the surface reinstalled with a spacer from the wall provided at a very high humidity, and then corrosion of for ventilation. the metal. Ongoing maintenance of the metal is necessary; otherwise it becomes difficult to reverse the deterioration. This article discusses the damaged condition of metal objects in several types of weather in Taiwan, and explores the difficulties and processes of maintaining and conserving metal artefacts. 30 31 SPEAKERS PROFILE (BY ALPHABETICAL ORDER) AMERRUDIN AHMAD ROBERTO A. BALARBAR Julia’s advocacy for preservation outreach, has CATHERINE CUMMINS taken her back to South East Asia, a most beloved Amerrudin Ahmad is the Chief Curator Roberto A Balarbar holds a degree in Bachelor of region, where she grew up. From 2000 to 2008, Cathy is the Waringarri Arts Centre Manage. She (Conservation) at Balai Visual Seni Negara Science in Chemical Engineering and Masters in she led five multi-month textile preservation has extensive experience working in project (National Visual Arts Gallery) of Malaysia since Business Administration. He is the Officer-in-Charge workshops in Bhutan, and helped establish the management in the arts and cultural industries - 1997. He has a Masters in Conservation from of two Divisions at the National Museum of the National Textile Museum. Since 2008, she has delivering community programs, business and the UK, a Bachelor in Art and Design (Fine Art) Philippines: Arts and Conservation Laboratory. He been training a new generation of textile strategic development and have engaged from the University Teknologi MARA, Shah Alam, supervises the preservation of its moveable heritage conservators in Thailand, establishing the extensively with Indigenous communities. Cathy Malaysia (1994) and undertook conservation collections and special conservation projects, conservation lab, storage and exhibition is committed to supporting communities to achieve studies at the National Research Laboratory for including those retrieved from sites devastated by standards at the Queen Sirikit Museum of Textiles success and sustainability through balancing Conservation of Cultural Property, Lucknow, India the October 2013 earthquake in Bohol. As a in Bangkok, and leading preservation trainings in cultural and economic values. in 1999. Amer has curated many exhibitions at conservation scientist, he conducts materials Jakarta, Indonesia and Taiwan. Julia Brennan is a BVSN, abroad and with private galleries. analyses for appropriate conservation methodologies Professional Associate of the American Institute and formulation requirements. for Conservation, a Director of the Washington SARAH DAVRINCHE Conservation Guild, APTCCARN, and founder of Sarah Davrinche is a French painting conservator. CHIRAPORN ARANYANARK the Collections Care Network CCN. VINCENT L BELTRAN After a Master of History of Art at the Ecole du Chiraporn Aranyanark has had a long and Louvre in Paris, she graduated with honours in 2014 distinguished career in conservation. Her career Vincent L Beltran is an assistant scientist at the in Paintings Conservation at the Institut National du began in 1972 after graduation with a degree in Getty Conservation Institute. His research CHEN SHU-MEI Patrimoine by presenting her final year project on interests include the examination of mechanical chemistry from Chulalongkorn University, and she Shu-mei Chen is studying at the Graduate the study and the conservation treatment of a properties of historic materials and assessments went on to earn a MEng in nuclear technology Institute of Library, Information and Archival painting exhibited in a tropical environment. of the transportation environment for cultural from Chulalongkorn University. She has also Studies, National Chengchi University as a heritage objects. attended several training courses on conservation doctoral student. Meanwhile, She is also the and scientific examination of cultural property. Senior Executive Officer of the National Archives DR AUGUSTINE DORONILA For over 36 years, she served with the Administration, National Development Council. Augustine is a research fellow with the analytical Conservation Science Division of the Fine Arts SARAH J. BENSON The National Archives Administration is the central Department, Ministry of Culture. In addition to and environmental chemistry research, School of Sarah J. Benson, Assistant Conservator, Textiles, competent authority in Taiwan, responsible for the conservation intervention, teaching, organising Chemistry at the University of Melbourne. He is joined the NHB, Heritage Conservation Centre (HCC) management of all governments’ records, as workshops, conferences and training programs, involved in ecochemical research in Southeast in April 2014 and is a graduate from the Centre for well as the management of archives, such as she also contributed to numerous books, Asia of the Washington Conservation Guild, Textile Conservation at the University of Glasgow. acquiring, transferring, organizing, preserving, conference proceedings, manuals, and articles. APTCCARN, and founder of the Collections Care Before coming to Singapore she worked with a and making them available to the public. She is She has been involved with several international Network CCN. private conservator in Scotland focusing on textiles charged of the records preservation counseling, organizations, such as ICCROM Council member used in historic houses and did a placement at the as well as supervision of the National Archives (2003–2007), member of the Scientific repository-building, archives maintenance, fashion museum: Musée Galliera de la Mode in Paris. DR ALEX DUAN Committee for Conservation of Stone (ICOMOS), duplication and other related operations. and member of the International Council for Dr Alex Duan is part of the Surface & Chemical Biodeterioration of Cultural Property (ICBCP). JULIA M BRENNAN Analysis Network, School of Chemistry at the DES COWLEY University of Melbourne. After her retirement from the Fine Arts Julia M Brennan has worked in the field of textile Department in September 2008, she continued conservation for thirty years. Her Caring for Textiles Des Cowley is the Rare Printed Collections Manager her career as an expert in conservation at the at the State Library of Victoria, and co-curator of company, founded in 1996, is based in Washington CLAIRE GRECH National Discovery Museum Institute. She has DC. She does a full range of textile treatments, display, the Library's permanent exhibition, Mirror of the developed numerous training courses, workshops installations, storage and survey work for institutions World: Books and Ideas.He has more than twenty Claire Grech is the Australian Conservation Science and publications to increase the competence of and private clients. She lectures to collector years experience working with rare books and is Fellow at the Straus Center for Conservation and museum staff all over the country. She is also a stakeholders on textile preservation and is co-author of The World of the Book (2007). Des Technical Studies, Harvard University. She graduated visiting lecturer for the MA in Conservation of Fine passionately committed to the protection of was a judge for the Victorian Premier's Literary from the University of Melbourne with a Bachelor Arts and MA in Architectural History. In keeping cultural property in countries of origin. A degree Awards in 1998, 1999, 2003 and 2010, and is on of Science (Chemistry) and a Master of Cultural with her commitment to the profession, she is still and specialization in the protection in cultural the editorial panel of Script & Print and the La Materials Conservation. Her current research active in numerous organizations and committees. heritage has forged collaborations and trainings Trobe Journal. interests include the chemical analysis of modern In 2013, the Senate awarded her for distinguished with antiquities, legal and law enforcement, and paints, the technical study of Persian lacquerwork, achievement in the field of applied science. the conservation community to augment security and the identification of pigments in Islamic and art issues. manuscripts. 32 33

KENNY JUNIOR GRIFFITHS NAWARAT KAEW PIYAMON KINGPRATOOMMAS Kenny was born in Kununurra and raised in Committed to keeping the stories of her grandfather, Nawarat Kaew-on is currently a doctoral student Piyamon Kingpratoommas (Oom) graduated from Roeburne and Hall's Creek. He started living in Charlie Mailman, alive and maintaining her in Imaging Technology at the Chulalongkorn the Faculty of Archaeology, Silpakorn University, Kununurra in my mid teens and have been here connection to culture Peggy and her husband Alan University, Thailand. She received her MSc in Bangkok, Thailand. She started her career as an ever since. Kenny did some work experience at are often found painting side by side. They are key Imaging Technology from the Faculty of Science, editor for fashion magazine. Her passion for textiles TAFE before starting at Waringarri Arts. He started performers and teachers of traditional dance for Chulalongkorn University, where she also and interest in the field of conservation led her to in 2010 because of his grandparents and because their community. They have travelled widely, graduated with her Bachelor of Imaging and join the staff of the Queen Sirikit Museum of Textiles the rest of my family are close by. Kenny learns performing at arts festivals and events. Peggy is a Printing Technology. After she completed her in 2008. She has been trained by professional from all the artists and he learn different skills to highly respected senior artist at Waringarri Master’s, Nawarat worked in the printing and textile conservator, Julia M. Brennan. In 2013, she make things and how to use equipment. As an art Aboriginal Arts, teaching other artists as well as packaging industry for 14 years, with three years completed a textile conservation internship at the worker Kenny prepares materials and canvases contributing to leadership of Waringarri Aboriginal in an Asian packaging company and 11 years at Heritage Conservation Centre in Singapore. for the artists and supporting senior artists. He Arts in a Director role. Peggy and her husband have Target Corporations. In addition to her experience has also been involved in supporting public art 5 children, 27 grandchildren and a growing number in the professional field, Nawarat has a strong Piyamon helped establish and set up the lab at the commissions and have learned skills in mold of great grandchildren. "What is important to me is interest in art and studies acrylic painting. She QSMT into its current functioning capacity. She making, wood carving and casting as well as a to carry on my grandfather and my mother's stories. teaches decorative painting class at her home conducted condition reports and treatment proposals for all the textiles and artifacts currently little bit to do with art conservation. It is important to show my younger generation studio. Since 2014, Nawarat has been awarded a what I have learned about our stories and our fellowship by the Thai Research Fund for the on display. She is engaged full time as a textile conservator, executing treatments, installation, culture. When I paint my mind has an idea and I do Doctorate of Philosophy in Imaging Science. She exhibition preparation, and an active preservation PEGGY GRIFFITHS that to show people how I see things." decided to pursue her education to merge her background in science and her skillset in art to outreach program at the museum. Peggy Griffiths arts practice reflects her strong support Thai traditional art conservation. Nawarat commitment to her Miriwoong culture. Her SYLVIA HALIMAN is now researching Thai traditional colours. elegant imagery resonates with references to MIKI KOMATSU cultural performance of which she is a renowned Sylvia Haliman holds an MSC in Conservation in Miki Komatsu, Senior Textile Conservator, joined dancer. The winding of waterways are the sinuous Archaeology and Museums and an MA in Principles EMILY KEPPEL the Heritage Conservation Centre in 2008, and has and graceful body movements of a dancer; the of Conservation from University College London headed the Textiles Conservation Section since outlining dotting reflects a performer's body (UCL), UK. Trained as an objects conservator, she Emily Keppel recently completed the Master's 2009. She obtained her Master’s degree in Textile painting. Her works document the traditional has worked in Museums in UK, Hong Kong and program at the Grimwade Centre for Cultural Conservation from the Textile Conservation Centre, country of her mother and grandfather and her Singapore. She joined the objects conservation Material Conservation at the University of Melbourne, specialising in paper conservation. She was a UK, through the sponsorship of the Japanese recent works capture the movement of wind team at Heritage Conservation Centre (HCC), Preservation Technician at the State Library of Government Overseas Study Programme. through the spinifex country which for the artist is National Heritage Board (NHB), Singapore, in 2013. Victoria from 2013-2015, and a recipient of the AGL evidence that the spirit of culture is alive. Shaw Summer Research Fellowship. Emily recently undertook an internship with the National Museum Born on Newry Station to Dinah Dingle and Frank DR CAROLINE KYI MICHAEL C HENRY of the Philippines and has also worked on several Moore, Peggy lived and learned about her family Michael C Henry is Principal Engineer/Architect at conservation projects for the University of Melbourne Dr Caroline Kyi is a Post-doctoral fellow at the and bush life. "I grew up on Newry Station and Special Collections and community museums Grimwade Centre for Cultural Materials learnt my culture from the old people. Peggy saw Watson & Henry Associates and Adjunct Professor of Architecture at the University of Pennsylvania. around Australia. She is currently an intern at Book Conservation based at The University of Melbourne. my old people being taken away from the camp Conservation Services in Castlemaine, Victoria. She has a Post-Graduate Diploma in Wall Paintings with chains around their necks and she was hidden He is guest lecturer in the University of Delaware/ Winterthur Program in Art Conservation. Her research interests include preventive conservation, Conservation from the Courtauld Institute of Art, once when Welfare came so that they would not bookbinding, the materials and techniques of London as well as a PhD (Chemistry) from The take me away. Peggy learnt to dance all the Islamic manuscripts and the preservation of University of Melbourne, Australia. Her research traditional dances and has taught all my children paper-based artefacts in tropical climates. focuses on the conservation of wall paintings as and grandchildren these dances. She went to school well as the biodeterioration of cultural materials. at the Kimberley Research School and later at She has worked on, and undertaken research into, Beagle Bay Mission before she got married at 16 to conservation issues presented by a range of my promised husband Alan Griffiths. We have been moveable and immoveable forms heritage in together ever since." Peggy began working with Australia and internationally. She is also an Waringarri Aboriginal Arts in 1985, carving and assistant co-ordinator for the ICOM-CC Murals, painting boab nuts and boomerangs. She progressed Stone and Rock Art working group. to painting on canvas and working with limited edition prints. She is the first indigenous artist to win the prestigious Fremantle Print Award. 34 35

DR ANA LABRADOR KWANJIT LERTSIRI LIN HUAN-SHEN DR SHIN MAEKAWA Dr Ana Labrador is a social anthropologist and Kwanjit Lertsiri graduated with a bachelor degree In 1994 Lin Huan-Shen received a Master Degree Shin Maekawa, Ph.D. is a senior scientist at the Assistant Director of the National Museum of the in Traditional Thai Art from The Rachamonkol in Chinese Art History from National Taiwan Getty Conservation Institute, conducting research Philippines, managing its interdisciplinary research Institute, Bangkok. She has participated in several University. Following that he spent ten years on environmental technologies for conservation and collections. She is also its chief curator. In 2008, training courses, for example Japanese Paper studying conservation of East Asia paintings at the of cultural objects and built environments of she was a Visiting Scholar at the University of Conservation, Conservation of Palm leaves and Usami Shokakudo studio in Kyoto, Japan (a studio heritage buildings since 1989. Melbourne’s Centre for Cultural Materials Paper, and Preventive Conservation. She worked that has been in existence for two hundred years) Conservation, continuing her work on traditional on the conservation of painting and art on paper and then at the Palace Museum in Beijing, China. knowledge and preventative conservation from the at the Conservation Science Group, the Office of From 2004 to 2006 he worked in the Conservation ERLINE S. MILLAR University of the Philippines at Diliman where she National Museums for 19 years, and then Department of Tokyo National Museum. was Associate Professor of Art and Museum Studies. transferred to the Office of Archaeology in 2008. Erline s. Millar is the National Museum's At present, she is a paining conservator at the After returning to Taiwan in 2006 he set up conservator for textiles and paper, caring for the extensive the National Ethnographic Collection Mural Painting and Sculpture Conservation inprivate practice at the Taipei Conservation Center and the National Fine Arts Collection. She is also Group, Office of Archaeology, The Fine Arts where he undertakes conservation works for CINDY LAU involved in its preventive conservation, ensuring Department, Bangkok, Thailand. Her duties and museums and private collections. Mr. Lin also that objects made of biodegradable materials Cindy Lau, currently working as an Assistant responsibilities include providing conservation for began to be concerned with the Taiwanese are maintained in the course of exhibitions Conservator, Objects, obtained her Bachelor of mural painting, and providing lectures and advice mounting history and with culture heritage and transportation. Her experience includes Science (Honours) in Materials Science from the on conservation measures for mural paintings. conservation in general. From 2010 onwards he conducting conservation training and giving National University of Singapore, followed by a Her area of specialization is the materials and has taught East Asia painting conservation un the Master of Arts in Conservation from the University lectures, both in local and international meetings. techniques of traditional Thai painting. Graduate School of Cultural Heritage Conservation College of London. She joined HCC as an assistant at National Yunlin University of Science and Technology. Along with Robert Balarbar, she is responsible object conservator in 2010. In 2011 he was registered as a preserver of traditional for the retrieval, conservation and training techniques by the Taiwanese government. of moveable heritage from the October 2013 LI I-CHENG earthquake-affected sites in Bohol. LEE MENG-KEN AND CHEN YI-TSEN Li I-Cheng has been director of the Conservation Center of Cheng Shiu University since 2005. LIN WAN-JEN Lee Meng-ken and Chen Yi-tsen are conservators He has a Master’s degree in Fine Arts from ELIZA O’DONNELL who serve in the Object Group of the Conservation Lin Wan-jen has been a Paper Conservator with Universidad de Salamanca in Spain. Now he is Center of Cheng-Shiu University in Taiwan. They have the Conservation Center, Office of Arts and Culture, Eliza O’Donnell is a recent paintings conservation a PhD candidate at the Universidad Politécnica MA degrees of Cultural Heritage from the Conservation Cheng Shiu University since 2014, after graduating graduate from the Grimwade Centre for Cultural de Valencia. He is in charge of the research, department of National Yunlin University of Science from the Graduate Institute of Conservation of Materials Conservation (GCCMC), at the University education extensions and administrative and Technology, and several years’ experience in Cultural Relics and Museology at Tainan National of Melbourne. Eliza’s experiences to date have developments of the Conservation Center. sculpture and object conservation (especially for University of the Arts in 2011, and working as a focussed on the conservation of oil paintings in metal). Lee and Chen are interested in cleaning, Paper Conservator with Yunshiu Conservation Ltd the Asia-Pacific region, and the use of technical repatination, coating, preventive treatment and from 2012–2013. art history and interdisciplinary methodologies conservation ethics of outdoor sculptures, LIAO HSIN-KUAN to gain knowledge about painting materials, contemporary and public art. Their clients include techniques and degradation mechanisms. Eliza Liao Hsin-kuan has been a Research Assistant in government institutes, museums, galleries, auction has recently completed a graduate contract with the Department of Registration and Conservation MA SI-YUAN companies and private collectors, and they help International Conservation Services (ICS) and at the National Palace Museum in Taiwan since owners to conserve objects, survey condition, manage Ma Si-yuan (Alex), the Conservation Assistant, will be publishing her research paper ‘Material 2012; participated in the ICOM-CC Graphic collections and give preservation suggestions. joined the Conservation and Collection Management Availability and Painting Practice: a case study of Document Working Group Interim Meetings (2012) Department of Taiyuan Asian Puppet Theatre Singapore Pioneer Artist Georgette Chen’ in the and undertook practical training in the Nishio Museum in 2013. After graduating with MA in Art upcoming AICCM Bulletin Volume 36.2. LEE SWEE MUN Conservation Studio; and in 2012 graduated from Studies, Alex Ma participated in publication the Institute of Conservation of Cultural Relics and projects recording oral histories of Taiwan. He Now Lee Swee Mun, ACR (ICON Accredited Conservator Museology (formerly Conservation of Cultural works alongside Kim Siebert in the department Restorer) is currently Senior Objects Conservator Relics), Tainan National University of the Arts. with specific interest in monitoring and maintaining and Senior Assistant Director of Conservation the storage environment, and assisting with Services, Department of Heritage Conservation preventive conservation duties. Additional Centre (HCC). She joined HCC in 1997. In the span responsibilities involve fundamental research of her conservation career, Swee Mun has been and fieldwork of puppetry, editing museum heavily involved in remedial and preventive publications and maintenance and development conservation work, exhibition work, as well as of archival systems for collection management. professional development of the department. 36 37

NUCHADA PIANPRASANKIT DR IOSEBA SORALUZE DR ROBYN SLOGGETT Nuchada Pianprasankit ‘Joy’ received a Bachelors Dr Recto earned his Bachelor of Arts in Philosophy Dr Ioseba Soraluze is a contemporary art Robyn Sloggett, Professor and Director of the Degree from the Faculty of Archeology, Silpakorn from Adamson University, Manila; Bachelor in conservator and Head of the Painting Department Centre for Cultural Materials Conservation, the University, Thailand in 2011. She then commenced Sacred Theology (Magna cum Laude) from the at the Conservation Center of Cheng Shiu University of Melbourne. The Centre's post her career at The Queen Sirikit Museum of Textiles Pontifical College of Saint Bonaventure in Rome, University. He received his PhD from the Polytechnic graduate programs include the Masters by as a visitor service officer and in 2013, as a Italy; Diploma in Archaeology from University of University of Valencia and has worked in several Coursework in Cultural Materials Conservation conservator under the museum’s senior conservation the Philippines; Master of Arts in Education from contemporary art museums in Spain. Since 2006 and research higher degree programs. The Centre consultant, Julia M Brennen. In the field of textile Manuel L. Quezon University, Manila; Doctor of he has been based in Taiwan and has carried also delivers conservation consultancy and conservator, she works on preserving and conserving Philosophy in Education from Philippine Normal out conservation and research projects with treatment programs to a large range of clients the museum’s collections. She also is a key University, Manila; PhD in Archaeology (second different museums, galleries and institutions in across Australia and the Asia-Pacific. Robyn's researcher in the conservation department. Being doctorate degree, in progress) from the University the country. He also does consulting related to research interests include attribution and a part of the 4th APTCCARN in Taiwan, is an of the Philippines. acquisitions and conservation of contemporary authentication of cultural material, materials opportunity to represent the Queen Sirikit Museum Chinese art for auction houses in Hong Kong. conservation in the Asia-Pacific, collection of Textiles as an institute and museum known for development and history, studies in materials and preservation in Southeast Asia. MARIA BERNARDITA MARONILLA-REYES techniques, and the preservation of cultural KIM SIEBERT material held in regional and remote communities. Maria Bernardita Maronilla-Reyes, or ‘Maita’, is In 2015 Robyn was recognized as a Member of PANNAPORN PUSOMJIT a Conservator of Paintings, Paper and Stone- Kim Siebert, Head of the Collection & Conservation the Order of Australia–General Division. built Heritage, and an Associate Professor at the at the Taiyuan Asian Puppet Theatre Museum, Pannaporn Pusomjit is a graduate student of Graduate School of the University of Santo Tomas Taipei, has an almost unbroken international (UST) Manila. She studied Chemistry and Geology, Analytical Chemistry in the Department of record of museum professional work since 1986, DR HANNA M SZCZEPANOWSKA Chemistry, Faculty of Science, Silpakorn University, and pursued Masters Studies in Museography and followed her graduation with a Masters in Fine Art Thailand. She has a Bachelor of Science from specialization courses in Heritage Preservation. at the University of Cape Town. Among other Hanna M Szczepanowska, PhD, is currently Silpakorn University. She is presently Consultant at UST Museum and museums, she worked for over a decade at the working as Senior Conservation Scientist at the Library, Roberto M. Lopez Conservation Center and South African National Gallery in Cape Town, National Heritage Board, Heritage Conservation the Diocese of Pasig for the restoration of stone until 1999. Then Curator of African Art, she was Centre in Singapore. During the past 10 years, she DR ANGEL S. RECTO churches. A pioneer head of the conservation the national selectee for the ICCROM: PREMA was Research Conservator at the Smithsonian Laboratory of the National Historical Institute ’95 Collection and Conservation Management Institution, Washington DC, and as a Fulbright Dr Angel S. Recto is Professor of the Department (NHI) in the 80s, she is behind the conservation of Diploma in 1995 through the University of Scholar she worked in Malta and Egypt assisting of Philosophy and Humanities of the Bulacan the oldest document (1573) at the Archdiocesan London. She has since worked at the UNESCO with environmental issues in museums. Her area State University (BulSU) where he has served Archives of Manila, the oldest money bill (1852) World Heritage Site Robben Island Museum, in of research is biodeterioration of paper-based as Consultant of the Center for Bulacan Studies in Southeast Asia and has treated paintings of several African countries, the USA and Taiwan, and collections, surface metrology and analysis of from 2013 to present. He was the former Faculty great Filipino Masters Juan Luna, Hidalgo, and has given numerous university and professional materials degradation. Her recent book is President of the College of Social Sciences and Amorsolo, and foreign artists such as Claudio courses and training in preventive conservation. Conservation of Cultural Heritage: Key Principles Philosophy of BulSU. He is currently conducting Bravo, Joan Miró, Picasso and Damien Hirst. She has a specific interest in the small museum, and Approaches (Routledge, UK). research and study on pre-colonial and colonial She is the founding President of the Philippine training, and upgrading professional practice. arts and religion, archaeological material culture, Association for Scientific Conservation; was a and museology in the Philippine islands and recipient of Quill and Anvil Awards for excellence; TAI CHUN-SHAN Southeast Asia. Specialising in Sacred Space and was commended by the Senate of Guam SHU MIAO-HUNG Archaeology, his expertise includes cultural for her contribution to the Chamorro Heritage Tai Chun-shan has been a Paper Conservator at heritage conservation and management, ceramic preservation. Her most recent article, ‘A History Shu Miao-hung has been a Conservator with the Conservation Center, Office of Arts and Culture, and stone preservation, religious rituals and and Development of Conservation in the the Conservation Center, Office of Arts and Cheng Shiu University since 2011; was previously Franciscan spirituality. He has done several Philippines’, is featured in Lumina Pandit II (2015), Culture, Cheng Shiu University since 2009, and Conservator in the Department of Registration archaeological explorations and excavations a publication by UST. has previously worked in the Department of and Conservation at the National Palace Museum in the Philippines and practiced conservation Traditional Arts, National University of Kaohsiung in Taiwan; and in 2011 graduated from the techniques and methods for ceramic, metal and (2004–2006) and the National University of Institute of Conservation of Cultural Relics and stone in Southeast Asia. His proficiency comprises TANATAT SAINGAM Kaohsiung Program of Promoting Teaching Museology (formerly Conservation of Cultural curriculum and instruction management and Excellence Universities (2007–2008). Relics), Tainan National University of the Arts. planning. Currently, he helps one of the state Tanatat Saingamis a Graduate student of Analytical universities in Central Luzon, Philippines, in Chemistry in the Department of Chemistry, Faculty establishing a new museum of natural history of Science, Silpakorn University, Thailand. He has a and cultural heritage. Bachelor of Science from Silpakorn University. 38 39

DR NICHANAN THEPSUPARUNGSIKUL ELEANOR VAILLER WANWISA WORAWARD Dr Nichanan Thepsuparungsikul is a Lecturer in Eleanor has recently completed her studies in the Wanwisa Woraward graduated with a BA in art the Department of Chemistry, Faculty of Science, Master of Cultural Materials Conservation at the history from Silpakorn University, Bangkok. She Silpakorn University, Thailand. He teaches analytical University of Melbourne. Her last year of study has participated in several projects on registration chemistry and has a research interests in Thai revolved around a research project into paint and storage of museum collections. She is mural paintings, particularly their binders and formulation at Waringarri Aboriginal Arts Centre, currently a knowledge management officer at microbial degradation with the use of microbial fuel with a focus on primary source material collection. Museum Siam, National Discovery Museum cells as an investigatory pathway. With a PhD from She has fostered her interest in conservation Institute. Wanwisa is very much interested in the the National University of Singapore investigating through fieldwork and research conducted in conservation of museum objects. She attended the ‘Development of carbon nanotube-modified Indigenous arts centers in Australia. Participation in several training courses on museology, museum electrodes for microbial fuel cell application’, he numerous volunteer projects has enabled Eleanor registration, preventive conservation and the is extending his expertise to cultural heritage at to gain practical experience working on easel identification of Chinese ceramics. She became Silpakorn University. paintings, wall paintings, large-scale paintings, one of the instructors in the training courses and bark paintings, as well as working with community other activities organised by National Discovery groups and engaging with the public in a range of Museum Institute to provide assistance to small TSAI FEI-WEN conservation related projects. Eleanor hopes to museums to improve conditions of museum continue her engagement with community-based collections. She also takes an active role in Fei-Wen Tsai received a MS in Library Science conservation projects in the future. disseminating information to the members of and a Certificate in Conservation from Columbia museum networks. University (1992). She undertook advanced internships and additional training at the Library DR NUANLAK WATSANTACHAD of Congress and the Smithsonian Institution. In DR YEN SU-FEN 1993, she was awarded a Paper Conservation Dr Nuanlak Watsantachad is an Assistant Fellowship at the Conservation Analytical Professor and the former Head of the Related Su-Fen Yen graduated with a PhD in Biochemistry Laboratory (CAL, presently Museum Conservation Arts in Architecture Department in the Faculty degree from National Taiwan University. She has Institute) and worked for the CAL for several of Architecture, Silpakorn University, Thailand. been working in National Palace Museum since years before taking a teaching position at the After her BArch graduation from Chulalongkorn 1992. Now she is the director of Department Tainan National University of the Arts (TNNUA) in University, Thailand, she received a Thai of Registration and Conservation. Most of her 1999. She is presently an Associate Professor at Government scholarship to complete her efforts is focusing in the preventive conservation the TNNUA. MS degree in Historic Preservation from the and conservation management. University of Pennsylvania, USA and her PhD in Conservation Studies from the University of DR NICOLE TSE York, UK. Her Masters and PhD theses focused on sandstone and laterite conservation, while Dr Nicole Tse is part of the research and teaching her previous and current research is related to team at the Grimwade Centre for Cultural brick and lime plaster deterioration. She has also Materials Conservation, The University of carried out condition assessments of materials Melbourne. Tse’s research has focused on the and buildings of several historic places such as development of regionally relevant conservation Cliff Palace, Mesa Verde National Park, Colorado, solutions for works of art in tropical Southeast USA and Mrigadayavan Palace, Thailand. With her Asia. She recently completed an ARC Postdoctorate specialisation, Dr Nuanlak has lectured, either Fellowship investigating ‘The Twentieth Century in as a faculty member or as a guest lecturer, in Paint’ and earlier completed her PhD, focusing on architectural and material conservation classes ‘The Characterisation of Oil Paintings in Tropical at various institutes including the University of Southeast Asia’ with collaborating partners in York (UK), Silpakorn University, Chulalongkorn Malaysia, the Philippines, Thailand and Singapore. University, Thammasat University and Kasetsart Nicole is a co-founder of the Asia Pacific University in Thailand. Twentieth Century Conservation Art Network (APTCCARN) and Editor of the AICCM Bulletin. 40 LOCATION MAPS

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