Conservation Methods for Own Works on Display

Relevant Conservation and Care Methods Students Can Apply to Their Own Artworks on Display

This key knowledge brings the professional conservation context directly into student practice: what conservation and care methods can students themselves apply when displaying their own artworks? The focus is on practical, accessible methods appropriate to the scale and context of student exhibitions.

Applying Conservation Principles to Student Work

Students are not professional conservators, but many conservation principles are directly applicable to student practice:

Lighting

What students can do:
- Avoid placing works in direct sunlight or under high-intensity artificial light for extended periods
- Request UV-filtering glazing when framing works on paper or photographs
- Use LED light sources when possible (lower UV, lower heat output than halogen or incandescent)
- Position lighting so it illuminates the work without creating glare or excessive surface temperature

Environmental Conditions

What students can do:
- Display in spaces with stable temperature and humidity (avoid kitchens, bathrooms, near heaters or air conditioning vents where conditions fluctuate)
- Avoid displaying works in poorly ventilated spaces where moisture accumulates
- If displaying outdoors or in uncontrolled environments, use materials suitable for those conditions (exterior-grade media, sealed and weatherproofed)

Physical Protection During Display

What students can do:
- Frame works under glass or acrylic (perspex) to protect surfaces from dust and physical contact
- Use conservation-grade (acid-free) mount board inside frames — not cardboard, which is acidic
- Place a barrier rope or rail in front of works to prevent accidental contact in busy spaces
- Ensure works are securely fixed to the wall, not at risk of falling

Framing as Conservation

For works on paper (drawings, prints, photographs):
- Use archival/acid-free mat board to separate the work from the glass — if the work touches the glass, moisture can cause condensation damage
- Use UV-filtering glass or acrylic glazing
- Seal the back of the frame to prevent dust ingress and provide a stable internal environment

For stretched canvases:
- Ensure stretcher bars are solid and the canvas is adequately tensioned — a slack canvas is at risk of physical damage
- If stored temporarily, face-to-face with glassine between surfaces

Displaying Three-Dimensional Works

• Use plinths that are stable and support the work’s weight evenly
• Position works where they cannot be accidentally knocked
• If the work has fragile projecting elements, consider whether a vitrine is needed

Documentation

Part of caring for your own works is maintaining records:
- Photograph finished works in good lighting before display
- Note materials used and any particular vulnerabilities
- Keep a record of display conditions (location, lighting, duration)

APPLICATION: “For my Unit 4 exhibition, I framed my three watercolour works using acid-free mount board and UV-filtering acrylic glazing because watercolour pigments are particularly sensitive to UV degradation. I also ensured the display area was away from the west-facing window to minimise afternoon sun exposure.”

VCAA FOCUS: VCAA requires students to connect conservation methods applied to their own works with methods observed in professional exhibitions visited during the year. The comparison should be explicit: “In the gallery I visited, the institution used X method. In my own practice, I applied the equivalent method Y.”

EXAM TIP: Know at least three specific conservation methods you applied to your own work on display, and be able to explain why each was necessary in relation to the specific materials used.