Conservation is the noble work of honoring culture, craft and the creative innovation of our humanity. As a conservator, I pay intuitive attention to detail in the preservation and conservation of our tangible cultural heritage.  I enjoy documenting findings, archiving interventions, and preserving object and intention, always taking into account theoretical and methodological approaches for historic works. I have striven to educate myself and others in protecting and maintaining the highest standards of practice brought forth by years of knowledge, cultivated by collaboration with my colleagues and peers. 

 

In 1996 I was selected to represent the United States at the Mural Conservation Course for ICCROM in Rome, Italy. After a 4 month course I remained in Rome for over 3 years working as an apprentice with two of Italy’s most acclaimed conservators, Carlo Giantomassi and Donatella Zari. The invaluable training and experience gained during that professional period gave me resources to use to this day. Following that training, I returned to the United States with a global vision of techniques, materials, documentation, and dedication to the importance of preserving cultural heritage.

 

My intention is to evaluate and tediously document art at its current state, historic archives, including descriptive written and visual documentation; architectural drawings/schematics, photographs, lab analytics, digital and spectra.

 

As a Professional Associate for American Institute for Conservation, I maintain the integrity of AIC standards to account for the “treatment procedures intended to maintain the integrity of cultural property and to minimize deterioration".  I conserve with the use of “treatment procedures intended to return cultural property to a known or assumed state, often through the addition of non-original material.” (AIC standards cited in “Definitions of Conservation Terminology