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OCTOBER 1994: NUMBER 13

The Inorganics Group: A Wider Perspective

Agnes HoldenHead of Inorganics Group, Conservation Department

The Sections within the Conservation Department that make up the Inorganics Group are Sculpture, Metalwork, Ceramics
& Glass and Stained Glass. The Inorganics Group seemed the logical title for a group that consists of ceramics, vessel glass,
sculpture, stained glass and metals but within those 'inorganic' headings there are several materials covered that are
organic. These include wooden polychrome sculpture, ivory, wax, amber and plastics. The restructuring of the Conservation
Department in September 1993 brought together classes of materials that had been historically linked within the Museum.

Until about 25 years ago, sculpture, ceramics and stained glass were all covered within one Section but then the Sections
began to evolve into their specialist areas, as the old art workshops were unable to satisfy the requirements in the growth of
knowledge about particular materials and object types. New types and fields have become necessary as late 19th and 20th
century materials have started to deteriorate. The result of this development was an increase in the subsections within
Conservation in a way which was not properly planned, creating a department that was not seen to be working as a linked
and cohesive Conservation Department.

The division into specialised areas was essential as it enabled the development of expertise.
This evolution has continued and in some Sections the number of specialist areas has
increased. Ceramics and Glass, for example, now covers enamels, waxes and plastics. To
some, the bringing together of these materials again under the new heading of Inorganics has
been perceived as a retrograde step. There exists for some, an unfortunately negative attitude
of why bother? In very simplistic terms it could be said that while the previous structure was
working for individual Sections it had grown too disparate to function efficiently within the
context of the Museum.

In fact the original reasons for the separation are still valid and will continue to be so: we
need to continue to research and develop techniques within our own specialisations, and it is
vital that students are given the opportunity to study in a specialist section under a supervisor (http://www.vam.ac.uk/imag
with specific knowledge. It is not the intention of the restructuring to undermine the
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expertise of the old Sections.
Fig.1. Vicky Oakley working on
objects for the new Glass Gallery.
I would like to outline here some of the aims and benefits of the regrouping, and the effect on (click image for larger version)
the Sections involved and on the Museum as a whole. It may be helpful to begin with a brief
profile of the people within the Group. There are presently 19 people including students and
the breakdown is as follows.

Sculpture Section
The Sculpture Section consists of Richard Cook, Head of Section, and two permanent conservators, Alexandra Kosinova and
Charlotte Hubbard. At present there are two RCA/V&A Conservation Course students, Lynne Humphries and Marie-
Thérèse Weech.

Ceramics Section
Vicky Oakley is Head of Section. There is another permanent post that is split into two half-time posts, occupied by Fi
Jordan and Juanita Navarro. Working also in the Section on a three year contract is Brenda Keneghan, a plastics
conservator. There is one RCA/V&A Conservation Course student, Rachel Oliver.

Metalwork Section
Diana Heath is Head of Section. Two full time posts have recently been advertised and there
are a further two permanent conservators, Leesa Vere-Stevens and Joanna Whalley within
the Section. Vivienne Farmer is the RCA/V&A Conservation Course student.

Stained Glass Section

My position as Head of Group also means that I retain my position as Head of the Stained
Glass Section. Samantha Whitney fills the other permanent post. A new RCA/ V&A
Conservation Course student, Ariana Makau, started in October.

Head of Group's Role

(http://www.vam.ac.uk/imag
The Head of Group's position provides a link from the Sections of the Group to the Head of -popup.html)
the Department and to the rest of the Museum. The HoGs represent Conservation on many of Fig.2. Agnes Holden at work in
the Stained Glass studio. (click
the committees which previously were covered by the Head of Department. This means that image for larger version)
greater communication will exist between the Sections and the wider issues in the Museum.
It is hoped that Sections will view this as increasing their representation and not simply as
removing it.

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Under the previous system it should be acknowledged that the dissemination of Departmental information was not
consistent within the various Sections. The amount and type of information being passed to all the different grades and
students varied. The establishment of the Group structure should enable the HoG to establish close links with all the
members in a way which was not practical for the Head of Department, and to create a common practice for
communication.

The HoG is in a position to provide a wider perspective on the demands being placed upon his or her Group and to liaise
with the Collections accordingly. It is not intended to replace the working relationships already established between
individuals in Conservation and Collections: these are very important and should be maintained above all. There will be,
however, elements of management which could be adopted by the HoG allowing the Sections to devote even more time to
conservation work.

Group Identity
For many years all the people working within the Museum have become used to the old structure and it is inevitable that
some time will elapse before we all feel comfortable with the new system. On a practical level the new Group immediately
clarifies one of the previous areas of confusion. Certain objects have never clearly been the responsibility of one Section or
another. For example, large scale ceramics will now be under the Inorganics Group rather than with Ceramics or Sculpture.
The Inorganics Group has had two key members away on extended periods of leave since the restructuring in September
1993. However, from August 1994 we will have been at full complement and able to build more rapidly on the foundations
established since my return in April 1994.

We have serious geographical problems at present which inhibits the Group identity. As
Sections, we are dispersed throughout the entire Museum, from the top floor within the
Museum Galleries to the edge of the building site of the RCA development, which will become
for most their new accommodation. This is a very real obstacle because it is difficult to meet
unless this is planned in advance. The physical relationship of the places in which people
work has a direct impact on both professional and social intercourse. Unplanned and
impulsive contact is a useful means of exchanging ideas and information. To some extent this
will be improved once the New Centre of Research and Conservation is completed and we will
all work physically much closer together.

Training
(http://www.vam.ac.uk/imag
Of particular interest is the development training within the Group. At present there is a great -popup.html)
deal of structure and support in the RCA/V&A Conservation Course for students but there is Fig.3. Richard Cook working on a
no consistency in the training of junior staff within the Department. The lack of specific polychrome stone head. (click
training courses means that some Sections recruit staff without relevant specialist training. image for larger version)
This puts a considerable responsibility on the Department and ultimately upon the Sections
to provide adequate training. Some Sections are able to provide a thorough grounding and
fairly structured approach to training. Others suffer from heavy workloads and demands which create problems in offering
a trainee an appropriate variety of objects to work on. It is intended that the Group should establish programmes or
syllabuses for the training of junior staff. These will not have to follow specific time scales but provide a check upon the
breadth of experience being gained by the staff. The sharing of experience and even staff resources should allow for junior
members to receive a broader training more rapidly.

As a Group we can help and encourage all the members to participate in the courses and training that are available generally
within the Museum through the Training Section. The HoG can provide a wider perspective on the Group's needs and
encourage individuals to attend courses.

Shared Resources
As a Group it will be easier to plan for shared resources both in terms of equipment and staff. The HoG controls the budget
and therefore can co-ordinate the purchase of equipment. Perhaps we can all have access to a greater range of resources if
in some instances it would be possible to share them. With staff too it will be possible to co-ordinate the needs of the
different Sections. The demands made on the Sections' time fluctuate according to the exhibitions and gallery schedules.
There may be occasions when Sections can call upon each other for practical help but it is only through Group management
that this will develop.

Research
Within the Group there will be increased possibilities for developing research and the exchange of ideas. This will include
assessing the way that we work on similar materials. For example, Ceramics and Metalwork both work on enamels.
Sculpture and Ceramics sometimes work together on large scale ceramics. There are obvious links too with some of the
conservation techniques that are carried out. For example, the processes for the repair of stained glass and vessel glass are
similar but there has never been formal discussion on our relative approaches or comparison of successes and failures.
There are some conservation materials that we all use: epoxy resins and retouching materials are common to all Sections in
the Group. At the moment we all approach the Science Group on a Section basis to have materials tested. This puts extra
strain on an under-resourced Group. As a Group we can co-ordinate and prioritise the demands we make on others.

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It is also vital to continue developing external links to increase the amount and quality of
research that we carry out. We are already working with Imperial College, and in particular
the project with the Ceramics Section looking at glass decay has generated international
interest which is certain to sustain further study in this area. Two other short term projects
have also been established with Imperial College. One is to do an analysis of the sgraffito
panels on the facade of the Museum with Richard Cook and the other involves Charlotte
Hubbard who is furthering her research on the cleaning of alabaster.

The restructuring has created a new tier of management which should be viewed as a positive
development. It is important to remember the Group is only part of a larger Department
whose role is linked to the development of the Museum. The creation of the new Group
should help the Department to achieve its aims by enabling greater communication, better (http://www.vam.ac.uk/imag
and more planned use of resources, a wider and less inward-looking approach and it is hoped
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a more rewarding working environment.
Fig.4. Diana Heath dismantling a
metal mount on a 17th century
pilgram's flask. (click image for
larger version)

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