Wednesday, Session 6: Greener Treatments and Materials 1

by Cátia Ferreira, Nat Ulloa, Namrata Patel

During this session, studies and projects were presented that primarily focus on green alternatives for conservation. Topics were also discussed regarding terms used by industries to sometimes falsely advertise as “green.” This subject sparked a lot of interest and curiosity among the general public, leading to questions that prompted important reflections concerning the ethical concepts of conservation and restoration, as well as the terms we commonly use.

One of the central issues was identifying "green" materials suitable for conservation, with a particular focus on greenhouse gas (GHG) emissions. While PLA (polylactic acid) has 80% lower emissions than traditional plastics, terms like "biodegradable" and "compostable" often mask deeper environmental concerns, such as whether materials are industrially compostable. The problem with non-recyclable plastics, like bubble wrap, was also highlighted, and the environmental and social impacts of plastics on marginalised communities were brought to the forefront. This reminded the audience that sustainability is not just a technical issue but an educational one, tightly interwoven with social justice—no climate justice without social justice.

Without a doubt, this is a current topic that should be seen as a priority in our field. Seeking green alternatives is crucial for the life of ecosystems, but also for the users, in this case, conservators who are often exposed to toxic compounds without viable alternatives on the market.

During the Q&A session, experts highlighted the evolution of sustainable practices in art conservation, sparking a heartfelt conversation about the future of the field. Addressing a question from Bianca Gonçalves about the accessibility and affordability of green art products in Latin America, David Chelazzi from the Green Art Project shared hopeful news: innovative gels and microemulsions are on the horizon. However, he cautioned that the introduction of protective coatings and consolidants may take longer due to internal complexities amongst partners. The panel passionately emphasised the critical need for ethically sourced raw materials that meet stringent safety standards, ensuring that sustainability doesn't come at the cost of health.

Michael Lucas from the Getty Conservation Institute voiced a significant concern: the cost-effectiveness of new sustainable materials. He pointed out that, at times, these options can be pricier and less effective than traditional products. In response, the panel recognized the necessity of striking a balance between cost efficiency and user safety, stressing the role of conservators in evaluating the performance of proposed materials. Rebecca Ellison and Kim Kraczon made compelling arguments for returning to traditional materials, advocating for the integration of reusable options into conservation practices. Their call to action underscored the need for a holistic approach that prioritises reusability, local and ethical sourcing, while steering clear of the superficial solutions often associated with green capitalism.

Rob Bowler from Ottawa further enriched the dialogue by emphasising the importance of providing conservation materials at varying price points to accommodate different economic contexts. His insights sparked a broader debate about engaging policymakers to develop a pricing strategy that reflects each country's economic realities. This discussion was not just about products; it was a heartfelt plea for inclusivity, sustainability, and a commitment to preserving our shared heritage.

After such an interesting session, it can be concluded that non-profit research must continue in order to bring real benefits to the market. It is also important to acknowledge that green technology isn’t always sustainable, and in the end, it’s all about finding the right balance—one that takes into account both environmental impact and social justice.

BLOG AUTHORS
 

Cátia Ferreira is a conservation science specialist, working as an object conservator in Portugal. 

Namrata Patel is a Conservator,Urjita Centre for Art Conservation and Heritage Management, India. 

Nat Ulloa is a conservator of photographs, working in Lima, Peru.