For the third edition of our Private Practice Series, we'd like to introduce Kelly Grimshaw-Oliver who is a textile conservator and co-director of The Landi Company Textile Conservation Ltd.
Name: Kelly Grimshaw-Oliver
Specialism: Textiles
Employment status: Director and Employee
Business Name: The Landi Company Textile Conservation Ltd.
Location: Stamford
Premises: Yes, based at Burghley House
What inspired you to work in cultural heritage and conservation?
In 2016 I volunteered in a manuscripts & special collections archive in Nottingham where there is a paper conservator. He introduced me to the world of conservation where I fell in love with a profession that was both creative and academic. I applied for the Masters in Lincoln shortly after!
How long have you been in private practice?
7 years.
What have you enjoyed most about being in private practice, what keeps you in it?
The variety every day, with no two days being the same. One day I could be working on a 17th century tapestry, the next I could be creating a damage map of a chenille rug. The swift pace of private practice keeps it interesting, which is a challenge in itself.
What’s your favourite non-conservation skill in your toolkit?
Recently I’ve been learning how to use Photoshop for damage maps. Having a visual digital map is invaluable in showing clients how, where and potentially why damage has occurred.
What do you think emerging conservators need to know before starting in private practice?
Undertaking work experience in a variety of studios, preferably of varying sizes, will demonstrate how fast-paced it can be. Time is money in private practice, and seeing this first-hand is essential.
What do you think is key to making private practice more accessible and attractive as a career choice in conservation?
I think inviting more private practitioners into the universities or helping students reach out to private practice studios for work experience, would help showcase how rewarding a career in private practice can be.
Where has been the most unusual place you’ve undertaken conservation?
Working in an historic house during their closed season, in the middle of December, lying flat on my stomach stitching underlay together for a 9 x 6m rug.
What do you listen to whilst working?
Nothing actually. There is constantly chatter, both philosophical and inane, in the studio!
Tell us about a favourite project of yours
I love tapestries. I really enjoy projects like that in which you can fall into a steady rhythm and pour in hours of work. To date, my favourite tapestry has been a 19th century Beauvais tapestry which was incredibly fine with 12 warps per cm.
What’s the best piece of advice you’ve been given or would give to others?
Network, network, network. It is incredibly daunting, and I don’t know anyone who actually likes doing it, but it is a vital skill (particularly in private practice!).
