Pino Pascali, one of the most significant personalities from the artistic panorama of the nineteen sixties, is a most qualified guide to take one through the core problems relating to conservation and restoration which arise in the contemporary art scene...
In his relatively short period of activity, the artist has in fact produced several series of works, linked by an underlying coherence which is expressive and poetic, without being preoccupied by structure and technique, variously using traditional materials or methods, natural organic materials, serial industrial objects, right the way through to the video documentation of live performance. One must therefore carefully fine-tune, on a case by case basis, the appropriate conservation project and the eventual restoration intervention.
In the execution of the paintings, three-dimensional forms are created which occasionally recall the feminine figure, the animal world or other symbolic or archetypical images, and they are constructed by means of wooden structures covered in cotton canvas, sponges, synthetic rugs, or obtained by assembling plastic waste materials. Subsequently the artist puts the “finishing touches” to the work by applying adhesives and coloured paints of synthetic origin, using a paintbrush or nebuliser.
An exposé of the materials used by Pascali in his pictorial works, of the problems of deterioration which they present and of a number of conservation choices made – all of this will highlight some of the core problems relating to the conservation of contemporary paintings realised using synthetic binders.
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