My job: Vital protection of art history

Ute Larsen says every artwork needs different treatment to preserve it. Photo / Auckland Art Gallery Toi O Tamaki

Name: Ute Larsen
Occupation: Conservator, works of art on paper
Employer: Auckland Art Gallery Toi O Tamaki
Age: I was born in the same year as Damien Hirst and Tony de Lautour - you work it out
Working hours: 40
Pay scale: $50,000 to $80,000, depending on qualifications and experience
Qualifications: Postgraduate Diploma in Arts (Cultural Materials Conservation)

Describe your job.

I am responsible for the Auckland Art Gallery's collections of artworks on paper. We have almost 12,000 works on paper, which include major holdings of New Zealand historic and contemporary art, as well as a significant European print collection.

I look after our watercolours, prints, drawings and photographs by preparing them for exhibitions or loan, giving advice on storage, packing and transport and doing remedial treatments. A big part of what I do is preventive conservation.

We are spread out over five venues while the historic building of the gallery is being developed, with the paper conservation laboratory temporarily on the ninth floor of Bledisloe House and paintings conservation in the New Gallery. Next year we will move back to our fantastic newly renovated, extended gallery and I am currently preparing works for the re-opening exhibitions.

We have six conservators on staff: two paper conservators; one conservator for objects; three for paintings and one conservation assistant.

What is your background?

I started by doing volunteer work in a conservation lab of an ethnographic museum in Germany. With my apprenticeship as a potter, I originally wanted to study the conservation of ceramic and porcelain but I left Europe and completed a degree in Applied Science - Conservation of Cultural Materials, in Canberra, Australia. I decided to specialise in the conservation of paper.

During and after my university time I worked in private conservation studios and institutions in Australia and the Netherlands.

I moved to New Zealand in 1997 and took up this position as conservator at the Auckland Art Gallery.

It seems a specialist role?

New Zealand does not have a training programme for conservators - so everyone has to go overseas to study. There are only about a handful of paper conservators in the country.

Do you work just on the gallery's collection?

As well as the responsibilities for the gallery collections and exhibitions, the conservators offer a conservation service to the public on a user-pays basis. We do work for other institutions throughout New Zealand, private collectors, art dealers and the New Zealand Historic Places Trust.

What are the main types of damage that affect art works?

The intensity of light in New Zealand can cause fading to works on paper that are susceptible to light damage. Watercolours, pastels and photographs in particular can suffer irreversible damage from light and need special protection. The other main type of deterioration is due to the humid climate in many parts of New Zealand. We often encounter mould growth on paper and photographs, called foxing.

What are the job's challenges?

It can be scary to work on something of high historical significance or huge monetary value. I try not to let that faze me as it would only create stress.

Conservation is continually evolving in terms of better materials and techniques. A constant challenge is to stay up to date with developments of new products that artists use and to investigate and test new materials suitable for framing, packing and storing art works.

The best part of your job?

Monotony does not occur in my job. Every work is different - there is no routine treatment. It is exciting to research artist's techniques and their use of materials. I am lucky to have a job that I love and to work with an amazing group of stimulating people.

I feel privileged to look after one of the most important art collections in the country and the Pacific region.

Any negatives?

The administrative side is probably not my favourite.

It must take a certain type of person to do this role?

Prerequisites would be a high level of manual dexterity and attention to detail and patience, as some jobs are rather laborious. I approach my work methodically and investigate all angles before I start a treatment. People often think conservators have to be creative. That is not necessarily the case. Conservation is science-based and involves a lot of chemistry and an understanding of the interaction and ageing of materials.

Do you have a favourite work piece?

With a few exceptions that come down to personal taste, my favourite piece is usually the one I am working on. I enjoy doing the occasional job away from the conservation studio, such as treating wallpaper in historic houses or working with artists during the installation of an exhibition.

What do you want to be doing in five years?

Having been in the job for 13 years, I am starting to enjoy enjoy passing on the knowledge I have gathered over the years. Teaching the practical aspects of conservation to interns would be something I would like to do more of.

Advice to those interested in a similar role?

Some voluntary work is helpful, as it gives a good insight into what the job is about. Apart from a love for art, an interest in science is vital.