What are some of your current projects, research, or interests?
This question could be its own blog post! Let’s start with current projects: I am currently treating a number of Ancient Andean textiles as part of my internship. They are beautiful examples from the Chimu period but were previously restored. My work has involved reversing the restoration, determining the appropriate configuration of the fragments, and mounting for exhibit. It is a privilege to work on such technically impressive textiles, but it is also a heavy responsibility. The majority of Ancient Andean textiles in museum collections are from human burial, so I am continually thinking about the most ethical ways to approach these objects and be respectful of the humans that made and wore them.
Human-centered conservation is a key interest of mine. Whenever possible, I try to engage source communities and stakeholders. I am excited that my collaborative work with the Lenape Tribe of Delaware on Mid-Atlantic fishing nets will be included in the upcoming issue of the Journal of Textile Design Research and Practice. That is one of the things that draws me to textile conservation: we all have textiles around us constantly, and that means our work can and should be made approachable to a wider audience.
That passion has led me into other research areas, such as advocacy and entrepreneurship. I strongly believe that conservators deserve a bigger seat at the table, but many of us, myself included, still need to learn the relevant table manners. This means becoming vocal advocates for our skills and our field as a whole. Conservators can learn immensely from members of the creative economy and cultural and social entrepreneurs in order to make our work more visible. Both of these fields have demonstrated successful community engagement, calculated risk-taking, and self advocacy, and they are ripe for collaboration. Similarly, to better affect change within institutions, I believe it is important to gain a better understanding of institutional structures. To strengthen my own knowledge in this area, while in London at the V&A, I will also complete an independent study on grant-writing and project development with SAM Fundraising Solutions, which specializes in nonprofit fundraising and planning for art conservation and preservation projects. I am excited to explore the intersections of what I am doing at the bench with the skills I develop at SAM.
In your opinion, what is an important research area or need in your specialization?
Surfactants are a big area for further research. As part of my graduate studies, I conducted research on the rinsability of Orvus, the most common textile surfactant in the US, and the effects of its residues. My research suggested that Orvus residues are harmless, which could have positive impacts on the water consumption/environmental sustainability of textile bathing. However, more research is necessary on the many factors that affect rinsability, as well as other surfactants that we should be considering in our treatments.
I would also love to see more research on the conservation of nonwovens. Woven textiles get all of the attention, but nonwoven structures (netting, knitting, crocheting) deserve our love too!
Do you have any advice for prospective emerging conservators who would like to pursue this specialization?
In terms of hand skills, my suggestion is to learn how to sew. You do not need to know how to make perfect reconstructions of 18th-century garments, but learning how to use a needle and thread (and whether or not you actually enjoy it) will be useful!
Also, network! Pre-program internships in textile conservation are rare, so many students may not get exposed to the specialty. However, if you are interested, do not hesitate to reach out to a conservator to learn about their experience, their lab, etc. I think zoom has made people much more open to sharing their work in new ways, and we should all take advantage of that. I would hate to think someone did not specialize in textiles simply because they weren’t within driving distance of a textile conservator.
If you are looking for textile conservators to chat with, please reach out to me and/or the TSG-ECPN liaison (tsg.ecpn.liaison@gmail.com).
Also, remember that textiles are everywhere--associated with objects, in libraries and archives, as the support in paintings. Even if you are not able to gain experience with a textile conservator, there are likely opportunities to explore an interest in textiles within other specialties.
What is your favorite textile that you’ve worked on/treated?
This is an unfair question! It’s impossible to pick one. However, I think one of my most visually satisfying treatments was of a stuffed animal dog named “Leonardo.” Leonardo was incredibly well-loved by his owner and had suffered some pretty serious injuries to one of his legs and his tail, as well as extensive losses to the floral prints that covered him in a patchwork. To visually compensate the losses in the prints, I worked with Miriam-Helene Rudd, who is a member of the WUDPAC Class of 2024, to paint mimetic patches for each loss using acrylic paints. It was one of those insanely tedious tasks that people joke about in conservation, but Leonardo looks so much happier now, and I had a blast painting the colorful floral prints. His owner was also thrilled!
The project allowed me to push the boundaries of painted fills for textiles, and it will be presented as part of a talk my classmate Kris Cnossen and I are giving on aesthetic compensation of textiles at ReCH6.
For more information about the American Institute for Conservation's Emerging Conservation Professionals Network and to read more of their Specialty Group Interview series, visit the ECPN webpages.