Works on Paper was established when it’s founder, Carolyn Frisa, relocated to Vermont from Boston in 2008. She works with cultural institutions, art galleries, framers, dealers in fine art and antiques, private individuals, corporate clients, and insurance companies assessing, restoring and preserving various paper-based artifacts.
A wide range of artistic and historic works on paper fill the studio’s portfolio of conserved artifacts. Some of the artifacts Carolyn worked on are not your conventional flat paper documents or artwork. We were most impressed with the transformation of a badly damaged Smith’s Terrestrial Globe circa 1877, which was restored to it’s original glory.
Carolyn was kind enough to answer some questions for us:
How long have you been in preservation business?
I am entering my thirteenth year as a practicing paper conservator since receiving a master’s degree in paper conservation in 2000. I started my private practice, Works on Paper, in 2008, and have been a Professional Associate of the American Institute of Conservation (AIC) since 2007.
What is your professional background. Have you always been a conservator?
I had the rare and very fortunate experience of being introduced to conservation while still in middle school. I was immediately drawn to the work of conservators, and concentrated in fine art while in high school. I received an undergraduate degree in the history of art from Bryn Mawr College and entered a graduate program in paper conservation at Camberwell College in London the same year. After receiving my master’s degree, I worked as a paper conservator at Tate Britain before returning to the States. After moving to Boston, I began working at the Northeast Document Conservation Center as a Kress Fellow Paper Conservator and stayed with them for the next six years. I relocated to southern Vermont in 2008 and started my own private practice paper conservation studio, Works on Paper, attaining one of my primary goals set while in graduate school.
What is your conservation specialty?
As a paper conservator, I specialize in the treatment of many types of paper-based objects. These include works of art on paper such as watercolors, prints, pastels and posters, as well as archival materials such as maps, letters, documents, architectural drawings and diplomas. One of my favorite specialties is the conservation of historic wallpaper and I typically work on several large-scale wallpaper projects each year. I also work on three-dimensional objects such as globes, fans, and hat and band boxes. This variety of types of objects is one of the primary aspects that initially drew me to paper conservation as a specialty while applying to graduate programs. It definitely keeps thing interesting in my studio and I always look forward to working on the different projects I typically have scheduled for each week.
Can you name one or two of the most memorable artifacts you’ve worked on?
One of the favorite projects I worked on while at NEDCC was the conservation of the Meriwether Lewis Collection, a large collection of letters and documents written to or from Meriwether Lewis as well as other members of the Corps of Discovery while on the Lewis & Clark Expedition. Playing a crucial roll in the preservation of such an important part of our country’s history was one of the most professionally satisfying achievements of my career thus far.
I am currently working on a much smaller scale project for the Danby-Mount Tabor Historical Society (VT) that involves the conservation treatment of a ledger kept by a local blacksmith from 1850 – 1890. This ledger is especially important to the town’s history because it was one of the very few items that were salvaged after the museum’s building was washed into the river and destroyed as a result of Tropical Storm Irene. This ledger, along with several smaller ones and an artifact known as the “witch’s hat”, were retrieved downstream in the weeks following the storm.
What would be the hardest project?
The most challenging project I have worked on in my career so far was the conservation of the “Wall of Prayer”, the temporary construction fence outside of Bellevue Hospital covered with missing persons posters and letters of support following the terrorist attacks on September 11, 2001. Not only was this the most emotionally charged project I have ever worked on, it also presented a whole host of new conservation treatment challenges.
What are your favorite archival tools?
My favorite archival tools include various sized metal and Teflon spatulas, tweezers, and Japanese brushes such as the Hake Brush and Kuroge-Tsukemawashi Joining Brush. Other indispensable materials, of course, include Wheat Starch paste and a variety of Japanese Kozo Papers.
Location: Bellows Falls, VT
Online: worksonpaperconservation.com Blog: Pulp Fixin’
Specialty: Conserving a wide range of artistic and historic works on paper