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As part of our ‘Creative Minds’ window collaboration in the Melbourne and Sydney showrooms, The English Tapware Company has taken the opportunity to ask our featured artists and gallerists for professional insight into the often stressful process of choosing art for the home.
Focusing on specifying art for more challenging areas of the home - the kitchen and bathroom - we gathered advice from local artists Anya Pesce, Sally McKay and Britt Salt as well as Directors of .M Contemporary Gallery, Louise Rush and Michelle Paterson. For a conservator view, we also reached out to Grimwade Centre for Cultural Materials Conservation’s Vanessa Kowalski for tips on essential ways to look after the integrity of valuable and often sentimental artwork.
As people redefine the spaces in their home to accommodate a love of fine art and sculpture, new challenges have emerged to maintain the quality of these pieces. Our contributors provided valuable instructions for the preservation of art in a variety of forms and materials, whilst also expressing the important view that art should fundamentally bring an owner joy over concern.
Anya Pesce, whose distinctive sculptural work deals with durable materials such as perspex and acrylic, recognises that although her work can withstand exposure to natural light and wet areas, it should still be treated with caution when placed in excessive sunlight or high traffic areas.
“I have chosen to work with polymethyl methacrylate for many reasons- it satisfies the aesthetic I desire to make artwork due to its beautiful surface, lustre and colour.
“I understand that the material has a level of UV filter, but it is not recommended to be left exposed in direct sun as fading may occur and the material may become brittle. The material is robust, but the surface is delicate and prone to scratching and should be treated with care so as to not affect its appearance.”
Alternatively, Sally McKay’s photographic art involves printing with pigment inks on acid free cotton rag art paper and is much more forgiving when it comes to fading. This particular process “ensures the vivid colours will remain intact for close [to] 80 years.” However, she still recommends framing any artwork behind museum glass or perspex to combat the potential deterioration of any work over time.
Through her experience as a Painting Conservator at Grimwade Centre, Vanessa Kowalski agrees that a good framer can be vital in protecting art: “Framing artworks with a protective archival backing board can reduce the amount of humidity the work is exposed to. Frames with glass or acrylic glazing will also reduce cooking-related soil settling on the surface of your artwork.”
When asked about the specific challenges for placing art in either a bathroom or kitchen space, both Louise and Michelle from .M Contemporary agree that although art in bathrooms can be a beautiful addition to the space, there are always potential issues to consider, one of the biggest being moisture. The fundamental prevention of this is ensuring there is always suitable ventilation in place.
Sally supports this advice: “I absolutely love seeing artwork on tiles in bathrooms. It’s unexpected and often very complimentary to the artwork.
“[However] If your bathroom doesn’t have a window or another form of ventilation, I would then reconsider hanging your artwork in a bathroom.”
Vanessa advises how you can stay proactive by using an extraction fan when showering and staying vigilant by inspecting works for any affects from moisture including cockling, mould spots or staining.
“High exposure to moisture can result in warping and staining of an artwork. Many artworks are made up of organic materials (paper, linen/cotton canvas/acrylic paint), which are affected by high levels of humidity. Therefore, paintings on canvas - especially acrylic paintings, and works on paper (prints/etchings/drawings/photographs) should not be hung in the bathroom.
Vanessa proposes more suitable materials found in bathrooms are made of ceramic, marble or enamel.
“Metal items would also be affected by the moisture, possibly resulting in a patina on the surface – so that is something to consider.”
Louise agrees bathrooms are more appropriate settings for sculptural works as they are more durable against moisture and steam. Additionally, commissioned pieces work well as they can be specified to suit more difficult areas.
Artist Britt Salt knows from first-hand experience the importance of art being properly suited to a space prior to installation. “Materials need to be conducive to their environment. For instance, in a bathroom or kitchen space, you would want the materials used in the artwork to be resistant to moisture so they can stand the test of time.
“This ability to align an artwork with its environment has developed through working on commissions such as my façade for 2 Riverside Quay, where the artwork needed to appear seamless and vibrant, whilst materially, it had to stand up to high winds and outdoor conditions.”
“The context in which the artwork is installed is as important as the art itself. For me, the most successful commissions arise from a synergy of an artwork with its environment.”
For any designers unsure of specifying art for certain spaces, .M Contemporary recommends speaking with a gallery to specify the exact layout and usage of areas so they can properly advise you on works appropriate to each setting.
“All works will deteriorate over time, but this can be significantly reduced by good maintenance and placement of works. A gallery will assist clients in managing their collection over time and ensuring works are correctly monitored and restored if necessary.”
The kitchen is a common preference for clients wanting to see a favourite piece every day. Louise agrees the kitchen can also be an incredibly creative space to place more distinctive art. “Bright artworks can bring colour and texture to what might otherwise be a sterile environment. An artwork placed as you enter a kitchen can set the statement for whole room.”
However, the kitchen can be one of the most hazardous zones presenting key environmental issues - strong light, high humidity and temperature changes. To combat this, Vanessa advises placing artwork on any internal walls, having archival backing boards and hanging art away from intense sunlight and any direct heat sources such as stoves and heater vents.
Vanessa recommends that for anyone unsure where to display art in their home, a conservator can be contacted for advice. This includes an assessment of light levels, temperature and any display materials that may have been used such as archival framing. For further guidance, The Australian Institute for the Conservation of Cultural Materials can recommend qualified conservators working in the public and commercial sector.
“These conservators can provide advice for the storage, display and conservation treatment for all types of cultural materials.”
For those looking to choose a new art piece for a particular space in their home, Vanessa outlined which types of art are more susceptible to damage than others:
For clients still feeling apprehensive, Vanessa recommends positioning low-value pieces in kitchens and bathrooms, rather than the more valuable or cherished items. Her safest recommendation for placing the most anxiety ridden pieces: the hallway.
Nevertheless, Sally reminds us not to get too caught up with the anxieties of art depreciating, instead becoming more creative about where to place it.
“My philosophy is to enjoy your artwork as much as you can… it shouldn’t be placed in the back room just because there’s no direct sunlight there!
“Your art collection will grow over your lifetime so your space and how you think about it needs to be accommodating. That’s why it’s so wonderful to see increasing numbers of people placing art in their bathrooms and kitchens, as it’s a wonderful example of re-defining one’s space for a love of art.”
