RestauroItalia and Kan Ya Suda: a splendid joint venture to give back life to time and environment affected pieces.
RestauroItalia played an important role in the “renaissance” of two works by Kan Ya Suda exhibited in Italy:
Two pieces where Kan’s minimalism and animism may be seen as the keywords of his art concept.
Minimalism in Ya Suda‘s art has one meaning only: reducing the language to the essential, to the minimum, while animism recalls to mind the sacred aspect of art and life, that strongly calls the human being for contemplation and silence.
From this starting point, restoration work could only have one final aim: to give back to the pieces, by cleaning and protecting the surfaces, their original aesthetic balance.
Work consequently developed by steps, as one would have expected ,where step one was a preliminary stage, focusing on technical and engineering characteristics and studying the decay causes, and step number two was the layout of the intervention program, based on tactile and visual investigations, as well as cleaning tests.
The main causes of decay that affected these sculptures were related to the acid rain action, to the precipitation of the atmospheric residual, to the condensate and to the water washing away action.
All these factors, combined with time, produced an aesthetic final aspect different from the original one, wanted and meant by the artist, which had to be restored back to its origins.
In Kimon, the analysis of the conservation status, emphasized not only the loss of the protection layer, due to the washing effect of the rain water, evident in some geodetic lines, but also the loss of the original patina, that caused the appearance of stains and drippings of different colour, created by different deterioration stages.
Finally yet importantly, the gold leaf decoration, that was one of the main feature of the piece, was deeply altered around the external borders and the loss of material, together with deep abrasions, completed the picture of the piece status.
In Myomu, the conservation status showed deep geodetic lines containing atmospheric residuals and a strong loss of luminosity and brightness that spread all over the piece surface.
This intervention final aim was here to restore the original brightness of the piece and guarantee it for the longest possible length of time.
The working process went through cleaning to washing; from wax removing to chemical cleansing, in order to remove all the environmental elements deposited in the course of time and re-establish the original patina and brightness of Kan’s pieces.
and longtime experience were here combined with the most modern techniques and artisans’ handmade labour was used to spread manually and carefully the necessary chemicals to take the pieces back to their original splendor.
The human factor is to RestauroItalia of paramount importance to achieve the result that the artist’s sensitivity may appreciate and the art enthusiast may feel deep into his soul.