Some wonderful friends brought me this commercial produced Lamp Shade painted by Bill Hammond. It has been in use for many years before being knocked to the ground by over vigorous vacuuming and the damage resulted in a lamp shade of two halves.
The lamp shade was constructed on two metal rings with an internal structure of thin plastic which was covered with white paper for the outer face. This was then over bound with linen tape at the top and bottom rings. The upper ring supports the shade from the bulb with three wire struts. A standard lamp shade.
The plastic inner showed light damage darkening with aging produced by light and heat, and the paper outer exhibited surface soiling and fly spots. Apart from the obvious damage from the fall the whole was of good construction with no issues and the binding and metal rings were secure.
My initial thoughts were to take apart the shade and repair it in a traditional flat way by lining the whole with Japanese tissue, but once I examined it in the studio, it was well made therefore deconstruction was considered excessive and would create more problems
Plan B – working in the way you approach 3-D objects, as in paper-mache Globes and Tapa cloth masks I started repairing a small part each day, and worked my way around the shade.
This became problematic as the shade was originally constructed under tension and I had to line up the image and repairs and re-tension as I went, so working in a liner way in one direction was not producing the best results, I thought it could look better.
Plan C – I started again with a more robust Japanese tissue and Lascaux adhesive for strength on the plastic inner and I used pressure sensitive clamps to hold areas and tears together, while I worked. This worked really well and brought the image areas and tears that had splayed apart together.
With toned Japanese tissue and wheat starch paste, in keeping with the paper surface, I placed thin repairs on the recto to improve the visual integrity and image continuity over the tears. This was then re-touched to complete the work.
Not exactly a message in a bottle but this pot came from the Clyde Quay Marina, which is considered the historic part of Wellington Harbour. It has a wonderful history of sailing vessels and Launches dating back to 1904. The creation of this Harbour by the Wellington Harbour Board, formed an ideal small boat anchorage close to the city. The iconic boat sheds were added around 1909, constructed on reclaim land in sections. Also the Harbour was occupied by the American Navy during World War II.
The pot was found in April 2016 when a commercial diver, now my boyfriend was inspecting a mooring in the marina and always takes the opportunity to look around for objects and treasures.
Despite being full of black, smelly mud I was very happy to receive it as a gift at the time.
The pot cleaned up surprisingly well which indicates a good quality glaze as there was no damage, cracks or crazing. The design is hand painted very well.
The only indication that it has spent some time on the sea bed is the underside of the pot, where it has no glaze has a few marks from the encrustations and barnacles that were mechanically removed. The rest, along with the rust staining cleaned off with warm soapy water.
I researched the style and the red stamp on the bottom and only learned that it is a "Brush Pot" although I have no indication of age or manufacture - how it ended up at the bottom of the marina and for how long, is anyone's guess but I am happy to use it again for brushes in my studio.
A friend brought me a wonderful poster, she had seen it while in Warsaw pasted to a wall, and passing it on another day she noticed it had some new graffiti, and then again, ripped off the wall and left on the ground.
The short history of this protest poster’s display, with regard to protest and then support appealed to her and she removed what was left from the wall, folded it up and brought it home to New Zealand as a memento of her travels.
The poster was brought to me in a folded format and in four pieces, and with it the backing remnants of many previous posters that had been pasted in the same spot. Therefore the paper was thick with aged glue and many layers of paper.
After discussions on what was important to keep, the primary poster and what the owner wanted, which was to conserve but celebrate the history by not making the tears (scars) completely invisible, I began a wet treatment that helped remove the many layers of paper on the verso (back of the work).
Making the most of the poster being aqueously treated I lined the work onto a backing of four overlapped sheets of Japanese tissue using a mix of wheat starch paste and methyl cellulose which would aid slipping or the desired movement of the poster to align the pieces back together, like a puzzle. The work was left to tension dry on my work bench, similar to using a Kari Bari board (Japanese dying board used to line silk and paper)
Bloodymir was once again ready for display, with all his history.
Framed and photographed by owner.