Attending IconBPG25: Conservation Uncovered – Investigation and Discovery in Treatment and Analysis was an enriching and inspiring experience.
Although I was unable to join the Tuesday workshops due to logistical reasons, I was fortunate to take part in most of the event and joined the behind-the-scenes conservation tours. I hope this type of visits will remain part of future conferences, as it offers valuable insight into real working environments.
The conference began for me on Wednesday with the visit to Kew’s conservation laboratories. I found it fascinating to learn how their team approaches treatment decisions when working with specimens that are part of an active research collection, preserving both the material and the scientific integrity of the objects. Despite being a small team, their motivation and dedication to their work were truly inspiring.
Among the many engaging talks, The Graz Mummy Book, the oldest direct precursor to the codex form, particularly captured my attention. Through careful observation, two conservators made an extraordinary discovery, a bifolio predating previously known codices, challenging long-established academic assumptions. I greatly admired their persistence in defending their expertise as conservators, even in the face of criticism from other disciplines, and their collaborative, multidisciplinary approach to validating their findings.
In Unfolding decision making and treatment techniques in the Conservation of Three Maps from Dunham Massey, I was intrigued by the discussion of varnishes found on maps and the challenges of combining cleaning treatments. The introduction of Arrow gum mucilage as a potential solution was completely new to me, and I look forward to exploring its use in future treatments. Likewise, learning about the application of Jin-Shofu starch nanoparticles by Selene Chersicla was exciting; the analytical work behind this development demonstrates great promise for the consolidation of matte paint layers. I hope this material becomes commercially available soon so more conservators can benefit from it.
I particularly appreciated the talk about Mounting Contemporary Chinese Paper Cuts by the Tate team. It was gratifying to see attention given to the mounting of artworks, a process so essential to long-term preservation. Their multidisciplinary collaboration with technicians was impressive and resonated with my own past experience mounting Chinese paper cuts at the Bristol Museum & Art Gallery.
Another highlight for me was Cordelia Rogerson’s inspiring presentation. Her experience, humility, and thought-provoking approach left a strong impression. Her simple yet powerful question “So what?” will stay with me as a valuable reminder to reflect deeply on the purpose and impact of every conservation decision.
I also valued the inclusion of international speakers through the online format, offering diverse perspectives and insights into materials and methods beyond the UK context. As well as the hybrid nature of the event felt ideal, broadening access for those unable to travel while maintaining valuable in-person exchange.
Above all, the conference provided an exceptional opportunity for networking and community building. As an independent professional, I particularly valued the chance to meet colleagues in person, exchange experiences over coffee breaks, and feel part of our vibrant and supportive professional community. My sincere thanks go to the organising committee for their dedication and for creating such a meaningful space for reflection, learning, and connection.
Alicia García
The Paper Conservation Lab