• Journal of Conservation Science
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• v.37 no.2
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• pp.135-143
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• 2021

Conservation treatment that involved filling the lifting parts of wooden cultural heritage is carried out by obtaining wood or wood powder of the same species and mixing it with synthetic resin or natural glue to charge the blank area. Various concentrations and mixing ratios of adhesives and additives are used, depending on the type and condition of the target. Accordingly, in this study, we determined the conditions of the filler suitable for conservation treatment of wooden sculptures with lifted or separated bark in the National Museum of Modern and Contemporary Art. The optimal filler conditions for each adhesive were selected based on drying speed, shrinkage and expansion rates, and physical deformation degree. Then, to verify their actual applicability, these fillers were applied to wood and exposed to high-humidity environment and their cross-sections were observed. The fillers showed stable application in the following order: animal glue, PVAc adhesive, acrylic adhesive. In conclusion, a 1:2 mixture of animal glue and wood powder is a suitable filler for conservation treatment of wooden sculpture with lifted bark. The results of this study suggest appropriate ways to stabilize the bark that was lifted or separated from a wooden sculpture, thus enabling the future conservation treatment of the artworks under similar conditions.

• Journal of Conservation Science
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• v.37 no.5
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• pp.516-524
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• 2021

The 'artist's intention' plays an important role in the conservation process of contemporary art. Accordingly, the information on artworks owned by the artist, their bereaved family members, and foundations that have decision-making power is important. The artist's interview is the kind of data that can clear 'artist's intentions' to ensure reliable conservation treatment can be carried out even after the artist's death. Therefore, this study attempted to use information from the artist's interview on the type of wood in the manufacture of the filler required for lifted and separated bark conditions in the conservation process of wooden artwork in the National Museum of Modern and Contemporary Art. While the conservation treatment resulted in the stable preservation of the bark of artwork, an analysis of the wood confirmed that the information in the artist's interview was not true. Consequently, we suggest that attention must be paid toward the information provided by artist, their bereaved families, etc. Based on the result of this study, this is also expected to help preserve upcoming artworks with similar bark conditions.