I'm a museum conservator and freelance specialist passionate about preserving a diverse range of objects, particularly those made from organic materials like feathers. My fascination with feathers led me to collect and preserve folding fans and join the Fan Circle International.
Beyond hands-on conservation, I've developed expertise in project management, successfully leading large initiatives in both my museum and freelance roles. This experience has honed my skills in exhibition management and collections care.
My comprehensive training includes a Diploma in Conservation from the University of Applied Sciences in Erfurt, Germany, specializing in World Cultures and organic materials (polychrome wood, feather work, leather, skeletal materials). My diploma thesis on a Chinese lantern received a prestigious award. I've also undertaken extensive specialist training in various conservation techniques, from Tratteggio to Japanese lacquer work and integrated pest management. My commitment to professional development continues through workshops and conferences on diverse topics like quill work, bark cloth, and metal conservation.
My work history includes serving as an Assistant Conservator at National Museums Scotland, where I led conservation efforts for polychrome wooden objects and organics, managed exhibition treatments, and handled national and international loans. As a freelance project conservator, I managed a collections move for the Hunterian Museum Glasgow, overseeing assessments, packing, and team supervision. I've also had the privilege of being a guest lecturer at the University of Gothenburg, teaching conservation of basketry, bark cloth, feather work, and skeletal materials, and have volunteered at the GRASSI Museum für Völkerkunde on exhibition projects.
Polychrome wooden sculpture of an official, from Ancient Egypt, Middle Kingdom, 12th Dynasty. The sculpture had broken in half in the area of the legs. Additionally, the paint layer and gesso was partially loose and a large wax fill in the right hand side of the face has aged and cracks started to appear along the fill. In discussion with the client its was decided to undertake a stabilisation treatment but also to remove and replace the aged fill.
Persian bagpipes, or: neyanban, presented to the Perth Literary and Antiquarian Society in 1830. The conservation treatment preceded a technical analysis of the materials and methods present at the bagpipes. The bagpipes were in a poor condition – the leather bag was deflated and creased. The leather itself was dry…