Betty Campbell Statue, Cardiff City Centre. Maintenance Plan

Studio Response www.studio-response.com Betty Campbell Statue, Cardiff City Centre. Maintenance Plan.

For and on behalf of Rightacres Properties and Monumental Welsh Women - July 2021 1 Studio Response www.studio-response.com

Betty Campbell Statue - Maintenance Plan.

Contents

1. Background

1.1. Project team directory

2. Betty Campbell Statue

2.1. Statue location 2.2. Statue dimensions 2.3. Statue foundations 2.4. Material - bronze outdoors 2.5 Granite plinth and floor plaque

3. Maintenance and ownership

4. Maintenance schedule

4.1. Decommissioning

Front cover image: Clay sculpture of Betty Campbell by Eve Shepherd. 02 Studio Response www.studio-response.com

1. Background

The statue of Wales’ first black headteacher Statues are very much in the news at the moment. Betty Campbell is to be unveiled on September The Black Lives Matter movement has served 29th in front of the new HMRC building at 6 to highlight the lack of diversity in our public Central Square with thanks to Monumental Welsh monuments - something Monumental Welsh Women, Righacres Properties and many others Women has been trying to put right for several who financially contributed to the statue and who years. The Monumental Welsh Women and their continue to provide in-kind services to realise supporters were delighted when the public the ambitious, in scale and construct, statue by vote for the first historical Welsh woman to be internationally renowned sculptor Eve Shepherd. commemorated - and celebrated - with a statue, resulted in Betty Campbell, Wales’ first black Betty Campbell’s statue is the first in a series headteacher and community activist receiving five of permanently sited figurative sculptures a huge number of public votes. Now, her statue championed by a collective of Welsh journalists, is under construction and will be unveiled academics and businesswomen who are working Wednesday 29th September 2021 - not just the with Cardiff based public art consultants Studio first Welsh woman to be celebrated, but the first Response, under the banner of Monumental Welsh black woman. Welsh Women (MWW). Their aim is to celebrate the achievements of significant female figures Why do Monumental Welsh Women think statues in Wales’ history inspired by the fact that in are important? In her recent book, Invisible Women, Wales, there is not one single public statue Caroline Criado Perez said, ‘I wasn’t being shown commemorating the achievements of real Welsh women I could look up to …I wasn’t being taught Women. Welsh girls can’t always see what they about female politicians, female activists, female could be, who to be inspired by and in the spirit of writers, artists, lawyers, CEOs. All the people I diversity and equality their aim is level this some was taught to admire were men, and so in my way through commemorating Welsh women’s head power, influence and ambition equated with achievement. maleness.’

Monumental Welsh Women’s mission is to normalise female ambition and success by celebrating and commemorating the achievements of great Welsh Women and inspiring the next generation of great Welsh women.

5 statues - 5 Women - 5 years.

03 Studio Response www.studio-response.com

1.1. Project team directory

Client / owners – Rightacres Properties Statue fabricators – Castle Fine Art Foundry Jason Hyatt Chris Weston, Rightacres Properties Castle Fine Art Foundry 8th Floor, One Central Square LLanrhaeadr Ym Mochnant, Cardiff, CF10 1FS Nr Oswestry Email: [email protected] Powys, SY10 0AA www.rightacres.co.uk Email: [email protected] www.bronzefoundry.co.uk Client and Commissioner – Monumental Welsh Women Plinth and floor plaque fabricators Helen Molyneux Murielle Jayer Monumental Welsh Women Ltd, IP Services Unit 7, Neptune Court Logistic North, Unit F2-A, Cardiff, CF24 5PJ. Salford Road Email: [email protected] Bolton, BL5 1DB www.monumentalwelshwomen.com Email: E: [email protected] www.ipsurfaces.co.uk Sculptor – Eve Shepherd Eve Shepherd 46 Downland Road Woodingdean Brighton, BN2 6DJ Email: [email protected] www.eveshepherd.com

Art Consultants – Studio Response Emma Price and Jo Breckon Studio Response 23 Holgate Close Above: Betty Campbell maquettes . Cardiff, CF5 2PE Email: [email protected] www.studio-response.com

04 Studio Response www.studio-response.com

2. Betty Campbell Statue

Opposite is the sculptor Eve Shepherd picture with the original armature sculpture. The positive original (in sections) has already had silicone rubber mould is made over the it to create an exact negative of the mould held in the shape by fibreglass outer cases.

Following this molten wax is poured into and out of the mould, and the remaining skin allowed to cool; this forms a hollow wax positive. There are a number of seam lines and parts to the sculpture where the mould sections fitted together are then worked out and the sculpture cut up into castable sections.

The wax is then coated inside and out with liquid ceramic and grit, built up in layers to form a strong heat-resistant investment around the wax. This is then baked upside down in an oven, allowing the wax to be burnt out – hence the term ‘lost wax’. The negative spaces formerly occupied by the wax is at present being filled with molten bronze poured in at 1200ºC into the pre-heated ceramic investment. When the bronze has cooled, the ceramic shell will be removed, which in itself is arduous task followed by an acid, which further breaks down the ceramic.

As the bronze has been cast in several pieces (the children, chair, books and Betty’s glasses Above: Betty Campbell clay armature, to scale. etc), will be welded together and chased. This is a highly skilled process recreating any surface detail. Following this the sculpture will be ready to be heated up and applied with a wide range of chemicals, which form the finished patina. 05 Studio Response www.studio-response.com

2.1. Statue location

The Betty Campbell statue will be sited in front of the new HMRC building at 6 Central Square, Cardiff. Below is a plan of the exact location and accompanying photographs.

06 notes: Do not scale from drawings. All discrepancies to be reported to Gensler architect immediately. All dimensions to be verified by contractor on site prior to any works

LANDSCAPE GENERAL NOTES

PHASE 1 SITE BOUNDARY

Hard Landscape NATURAL STONE PAVING PALETTE A (20-15-90/135 'Palette A') Approx. 440x590x55mm

NATURAL STONE PAVING PALETTE B (20-15-90/135 'Palette B') Approx. 440x590x55mm 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 SELF BINDING GRAVEL SURFACE (20-15-85/145)

AREA OF TACTILE PAVING FOR PEDESTRIAN CROSSING POINTS. MH LP(EXISTING) G G G G Road sign INDICATIVE LOCATION OF PRECAST CONCRETE SC FFHH LP(EXISTING RELOCATED) LP(EXISTING) SC SC FLUSH ROAD KERB. SC MH SC SC SC TO ENGINEER'S SPECIFICATION.

SC SC SC CB PRECAST CONCRETE RAISED ROAD KERB TO ENGINEER'S SPECIFICATION. A NATURAL STONE BLOCK EDGING Studio Response www.studio-response.comRoad sign IN PEDESTRIAN AREA. B (20-15-90/135 Type C) 1 PAS68 CONCRETE BLOCK A Road sign C G (35-35-30/130 A)

F A LP(EXISTING) 900 x 1490mm block L L

1 C : 2 2 PAS68 CONCRETE BLOCKS WITH TIMBER 7

MH SLATS (35-35-30/130 A, B & C) 900 x 1490mm block B / 900 x 3600mm block C/ C 900 x 3600mm timber slats 3 on 900 x 7000mm block D C TREE GRILLE AND ACCESSORIES TREE GUYING SYSTEM, 4 C MH AERATION AND ROOT CELLS FE (40-35-00/170) TREES: FE 5 Quercus palustris (Pin Oak),

EXISTING STOP BUS Girth: 60-70cm, Height: 550-600cm GL-01 D FE C 6 WL PF-01 PL-07 PL-06 PL-05 FL-01 C

WL E

C LP(PROPOSED) FE A PL-04 PL-03 PL-02 PL-01 C FE A

B F B B

LP(EXISTING) G

A A A H A G MH

X1 B C01 23.07.2018 ISSUED FOR PLANNING YT AC FH MH CONDITION 11

SC B INDICATIVE PLOT 5 rev date revision note drawn checked MH B consultant LANDSCAPE PROPOSAL MH

Y1 SC SC A MH MH MH INDICATIVE PLOT 5 G MH SC SC SC SC SC SC LP(PROPOSED) SC SC SC LP(PROPOSED) SC A BUILDING OUTLINE SC AAAAAA CB

SC SC HAVELOCK STREET

lead consultant Mkr.

PAVILION SC PHASE 1 BOUNDARY Thomas More Square Tel +44 (0)20 7073 9600 London, E1W 1YW Fax +44 (0)20 7539 1917 PHONE BOX United Kingdom INDICATIVE LOCATION OF ARTWORK DETAIL TO BE PROVIDED CB

MH CB client

CB MH

CB Rightacres Property Company LTD. EXISTING PEDESTRIAN CROSSING 8th Floor LP(PROPOSED) CB One Central Square Cardiff

UL UL LP(EXISTING)

SC SC Post

SC SC key plan

SC SC SC Road sign Traffic Light LP(EXISTING) Road sign SC N G G

EXISTING ROAD SIGN PLOT 6 & 7 WOOD STREET EXISTING BUS STOPS

category 1 GENERAL ARRANGEMENT family 600-699 PLANS title LANDSCAPE HARDWORKS Betty Campbell PLAN_PHASE 1 AND PHASE 2

Statue location. project GPU CENTRAL SQUARE CARDIFF project number drawn checked 08.7186.002 Author Checker scale date rev As indicated@A0 07/17/18 C01 project code origin vol/syslvl/loc type role number 07 007243 - GEN - 03 -GF - DR - L-1611

2.2. Statue materials and dimensions

Weight – 2.6 tonne bronze cast Height of bronze sculpture – 4m (including 400mm plinth height) The plinth 2.2m square

2.3. Statue foundations

The foundations to which will receive Betty Campbell Statue have been designs in consultation with Arup (Cardiff officer) and the concetre pinth which will be clad with black granite has been designed and implemented with John A Evans, Jaylae consulting LLP.

Above: Installtion on foundation on site. 08 Studio Response www.studio-response.com

2.4. Granite plinth and floor plaque

The granite is being provided and installed with etched text by IP Surfaces BETTY CAMPBELL MBE 1937-2017

Front Plinth

EVE SHEPHERD 2021

Rear Plinth

RACHEL (BETTY) ELIZABETH CAMPBELL MBE RACHEL (BETTY) ELIZABETH CAMPBELL MBE

TRE-BIWT A THU HWNT OF BUTETOWN AND BEYOND

PRIFATHRAWES DDU GYNTAF CYMRU WALES’S FIRST BLACK HEADTEACHER

BRWYDRODD DROS GYDRADDOLDEB CHAMPION OF EQUALITY

AC AMRYWIAETH AND DIVERSITY

MENYWOD ARUTHROL CYMREIG MONUMENTAL WELSH WOMEN

Floor Plaque 09 Studio Response www.studio-response.com

3. Maintenance

Actions: Soiling. Graffiti.

Hose off accumulated dust, bird droppings, road Coating maintenance. It is very important to Only in cases where it is known for certain that salts and other materials. Rain alone does not thoroughly wash the bronze sculpture as described no clear resin incralac coatings are present can do this effectively and causes uneven streaking. above before renewing a wax coating. Renew a wax a safe attempt at removing graffiti be regularly Only if there is physical weakness, such as broken coating at least once a year with additional paste attempted. If incralac is present, solvents will joints, is it not safe to direct a stream of hose wax. In some situations, a sculpture can go for greatly alter the appearance of the sculpture water on the bronze sculpture. Forceful sprays of two or more years without waxing, but this cannot through dissolving this material. Wax coatings, on water using a jet nozzle are otherwise safe and be predicted beforehand. Hence, once a year is the other hand, can withstand careful and limited desired. Use the force of the water to remove thick a schedule that suits Betty Campbell’s bronze removal with solvents in an attempt at removing accumulations in pockets where rain does not sculpture. However, if a bronze sculpture shows no graffiti and then the wax can be easily replaced reach. Wet cloths’ or sponges may be used to wash signs of having been given a previous application following the procedures for wax maintenance off stubborn bird droppings but take care not to of wax or if the metal appears to be free of any old renewal as described above. Solvents such as rub through a coating or remove the patina. Rinse coating, then no wax coating should be applied mineral spirits and naphtha will affect the wax thoroughly from top to bottom. This washing can until a conservator evaluates the sculpture and more than acetone and methyl ethyl ketone (MEK). be performed one a month or weekly if necessary determines the intent of the artist. Come October but should be done at least once a year. Frequency 2022 and again in October 2023 Studio Response Attempt the removal of paint graffiti with acetone depends on rate of soiling accumulation, but in consultation with sculptor Eve Shepherd and methyl ethyl ketone first using solvent soaked washing cannot be overdone. and Rightacres Properties will commission a cloths. If a residue remains, use naphtha or mineral conservator (approved by Castle Fine Art Foundry spirits to slightly dissolve the wax coating that is A general rule calls for rinsing sculpture whenever and Eve Shepherd) to advise on the first wax under the graffiti. Restore the wax coating after the public realm is washed down with a hose. coating for the sculpture. It will be at this time graffiti removal following the procedures for wax Always perform such a thorough washing before a we’ll assess the need to apply paste wax to either maintenance renewal described above. wax maintenance renewal. add lustre back to the patina or a need to provide Do not: additional protectant against the elements. • Do not use Brasso or any other commercial cleaning product. • Do not use graffiti-removal products. • Do not use solvents to remove graffiti • Do not apply any protective coatings other than renewal applications of the specified wax.

10 Studio Response www.studio-response.com

Granite plinth and floor plaque 4. Maintenance schedule

Granite plaques are produced by blasting Patination is the name for the process of colouring 2) Avoid exposure of the sculpture to chemicals aluminium oxide through a rubber stencil to create metals. These colours arise from chemical including but not limited to: grass and tree the required design. The plaques are then etched interaction between elements in the metals and spray, chlorine, pesticides, window cleaning primed, painted and cured before finishing with a various external chemicals, the patina is not products, ammonia or other commonly used clear lacquer.This process has proven over time a paint but a very thin conversion coat on the cleaning products. Chemicals will adversely to be an excellent outdoor product; however, surface of the bronze. Accordingly, as different affect patina. as with all outdoor signage there is a degree chemicals are brought into contact with the 3) Never use abrasive cleaning pads, steel of maintenance needed to keep the signs and surface of the metal, the colour is liable to change. wool, or sandpaper on the sculpture. Use plaques looking their best. of such materials could mar the surface of When leaving the foundry, the sculpture will have the sculpture and require refinishing. To achieve this, we recommend that two or three a coating of paste wax. This paste wax helps times a year the plates are cleaned thoroughly prevent oxygen from getting to the bronze and Care Routine: with a non-abrasive cleaning agent (unscented oxidizing the surface. Over time, this barrier is soap and water with a soft brush is enough). worn off and water and oxygen work together to We suggest the following routine, to help preserve Bird droppings can be particularly aggressive at oxidize the surface, aging the patina. The best the lustre on the surface of the sculpture. certain times of the year due to their diet and method for caring for patinas always includes IMPORTANT NOTE: BIRD DROPPINGS SHOULD BE should be removed as quickly as possible. regular cleaning and waxing, which is important IMMEDIATELY WASHED OFF THE SCULPTURE. to both the appearance and longevity of the If dust, dirt, tree resin, etc. build up on the Graffiti bronze. Twelve months (October 2022) after sculpture, it is time to wash. If the sculpture looks the installation of Betty Campbell sculpture, a dull, it is time to wax, this will be assessed further Graffiti can usually be removed with the use of a specialist conservatoire will be invited to assess in October 2022 by a professional conservator. soft absorbent pad or cloth and mild paint solvent. the sculpture / statue to ascertain if additional Waxing treatment should be done once a year: Where the painted area is damaged, contact waxing is required with further advice on the most generally late Autumn. Climate and location in the Studio Response in the first instance for further appropriate paste wax, following the application UK will contribute to the number of times per year advice. procedure in this document. that waxing will need to be done. At all times it is a good practice to keep the sculpture clean and rag Vandalism Prohibitions: buffed, at intervals, between waxes. This is to keep accumulations of dirt and droppings off the piece. Scratches and gouges to the areas can be 1) Never use any chemical, cleaning solutions, Again, if you feel you have any unusual situation repaired, again please contact Studio Response in tarnish removers, or any other unknown or as to climate or water conditions, please contact the first instance for further advice. previously unused substance to clean the Castle Fine Art Foundry via Studio Response for the surface of the sculpture. best advice on Betty Campbell’s sculpture. Warning: It is essential that any bird droppings are Below is an example of the waxing procedure. removed from the plinth and plaque as quickly as is practically possible, as at certain times of the year they can be very acidic causing surface damage. 11 Studio Response www.studio-response.com

Cleaning and Waxing Procedure: 5.1. Decommissioning

Step 1: Wash the sculpture with unscented soap, Step 5: After the wax is dried (usually in about 20 Although the Betty Campbell sculpture is designed warm water, and soft cloths. A soft non-wire brush minutes) buff the surface to a good gloss with soft, to have a minimum lifespan of 25 years, it is may help to get into corners and remove stubborn clean cloths. Try to remember you are polishing the important to be aware of how the sculpture should dirt. wax and not trying to rub through the wax or the be managed after this time. patina. If higher gloss is required or desired, harder Step 2: Tree resin and bird droppings are wax may be used. This requires more skill and care, Decommissioning may be appropriate for practical particularly destructive to patinas and should as only a small (12 X12) area should be done at a or creative reasons in circumstances be removed as soon as they are discovered. Any time. when: droppings that have hardened onto the surface • The work has reached the end of its of the sculpture should be softened by placing a Natural Wear and Ageing determined lifespan damp paper towel on the deposit. Accretions that • The work does not occupy the site for which are difficult to remove may be removed by scraping It is the natural course of bronze, even when it was designed and is compromised with a soft plastic spatula. This should rarely, if maintained, that the patina will slowly mellow and • The structural integrity of a work is such that ever, be necessary. deepen. This is highly desirable and considered it poses a danger to public safety part of the joy of fine bronze work. While bronze is • The site is subject to immediate re- Step 3: Allow the sculpture to dry. If the weather is very durable and will last for centuries it must be development not hot, leave the sculpture for a few days; if the acknowledged that there will be some wearing of • The work proves perpetually problematic or weather is warm a few hours is sufficient; you want the patina if it is constantly touched or handled poses a risk to public safety to be sure that all the water is out of the pores of by people, shrubbery or tree branches, and even • The work may be appropriately relocated the metal. squirrels and birds. If decommissioning being considered it is Step 4: We can recommend the following waxes. advised that the owners, artist, and arts curator / • Liberon Black Bison Neutral Wax commissioner are contacted to advise on the most • Renaissance Wax Polish appropriate way to proceed.

Apply the paste wax that does NOT have spirits or turpentine in it to the surface with a soft bristle brush. Use a circular motion to try to rub the wax into the surface of the metal in a thin, uniform coat. If too thick a coat is put on, the wax may turn white or show brush strokes. One way to prevent a build-up of wax is to wipe off the brush onto a paper towel before putting the brush to the surface of the bronze.