While many conservators focus on a particular specialty, at FPAC, LLC we work on nearly any three dimensional material and have a network of conservators who specialize in painting, paper, photograph, and textile conservation as well.

 

The following is a list of materials we have worked on, which is by no means exhaustive:

bronze, brass, iron, steel, nickel, aluminum, stainless steel, gold, silver, copper, marble, granite, limestone, sandstone, shale, concrete, plaster, wood, plant materials, animal materials (bone, hair skin, leather, hoof, horn, ivory, fur, taxidermy), plastics/rubber (polyurethane, polyester, nylon, pvc, cellulose nitrate, cellulose acetate, latex rubber, rubber,  polystyrene (styrofoam)), painted surfaces (enamel, matte paint, oil paint, watercolor, tempera, acrylics, varnishes, coatings), gilding, glass, crystal, ceramics (porcelain, earthenware, stoneware, bone china, terracotta, toleware),

With specializations in ethnographic, modern and contemporary, outdoor sculpture, decorative arts, frames and furniture. 

Conservators serve many roles besides being the ones to perform conservation treatments.  Conservators also aid collections with their knowledge of preventative conservation measures, packing for shipping and long term storage, exhibition mounts, installation guidelines, disaster planning, and integrated pest management.

One of the most rewarding things conservators do it working with living artists or artists foundations to find appropriate solutions to addressing problems faced by modern materials and contemporary art.  If a living artist sells a work of art, then is asked to work on that work following its sale, they may in fact be devaluing the piece by revisiting it at a later time.  A conservator serves as a third party objective intermediary between the artist and collector, preserving the artist's intent and aesthetic, while also preserving the artistic value.​​

The first step for any conservator is an assessment of the object's condition.    Regardless of the damage or other  problems your object may be experiencing, a formal report documenting the object's current condition with written and photographic means is necessary.  This gives the object a reference point  to characterize the current damage and propose a conservation treatment if necessary.

Conservation assessments may be for one particular damaged object or can be for hundreds of objects in collection.  Condition assessments are the basis of all insurance claims, grants, and estimates for conservation work.  Even if you don't require immediate attention now, having a condition assessment made can help insure your work against future damages

SERVICES

Examination and

Documentation

Conservation Treatment

Collection Care and Artist Consultation

All images are property of Flying Pig Art Conservation, LLC and may not be used without the direct written consent of Lauren P Isaacs, Owner and Chief Conservator of Flying Pig Art Conservation, LLC.  The images shown here are cropped to demonstrate the conservation work of the conservators at Flying Pig Art Conservataion, LLC and are not intended to promote or profit in any way from  the individual artists, collections, institutions, or cultures they may be linked to.

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