Featured Projects
Treatment and Public Lecture, May 2025
”A Venus with the Blues: The
Conservation Treatment of an
Yves Klein “Blue Venus” Sculpture”
The Metropolitan Museum of Art, NY
Peer-Reviewed Publication Forthcoming
This project focuses on the conservation of Blue Venus (ca. 1961), an editioned sculpture by Yves Klein held in the collection of the Metropolitan Museum of Art. Cast posthumously in 1985, the work exemplifies Klein’s use of International Klein Blue (I.K.B.), a vivid ultramarine pigment central to his artistic identity. The study investigates the materials used in Klein’s editioned sculptures, typical surface damages associated with I.K.B., and treatment strategies compiled from interviews and historical documentation. While full respraying is a known approach, this treatment prioritized localized interventions to reduce visual discordance while preserving the original surface and Klein’s monochromatic aesthetic. The project not only restored the sculpture to a presentable condition but also contributed to institutional knowledge around the care of Klein’s unique materials and posthumous editions—offering a valuable case study in the stewardship of modern and contemporary art.
Above: A significant loss to the Venus’ shoulder was treated locally using a modern International Klein Blue (I.K.B.) formulation.
Above: Visually disturbing scuffs, scratches, and compressions were successfully reduced via the careful application of compatible solvents.
Ceramic Platter with Fish Motif
Above: Before and After Treatment images of a low-fire ceramic platter. The platter had separated into 8 large fragments and many small ones.
Below: A significant loss toward the center of the dish was filled using conservation-grade materials and inpainted to match the surrounding surfaces.
Treatment of a 1970s Kinetic
Sculpture by Kiyoji Ōtsuji
Sifting carefully through a box filled with broken parts, the only clear indication that this artwork had ever moved was a solitary solar panel and a small, delicate motor. Through the use of archival images, advanced laser cutting technology, and close collaboration with local artists and skilled fabricators, the sculpture was thoughtfully restored and given a vibrant new life.
Below: The terminals of the original small “fans” had caused them to detach from the spinning drum. The replacements were made by first transferring precise dimensions of the fans in 1:1 scale into a CAD drawing. They were then laser cut from 0.02” styrene and airbrushed to match the original colors. The image on the left shows the careful insertion of the final replacement fan.
Ancient Glass Vessel
(Roman, Syro-Palestinian, ca. 4th - 6th century BCE)
Above: Before and after treatment images of a small glass jar with handles and trailed decoration.
Below: A loss to the rim and handle of the vessel was filled using tinted conservation-grade epoxy and inpainted using a variety of materials to match the surrounding weathered surfaces.
Commemorative Silver Dish
American (20th century)
A glass bird made in Murano, Italy arrived at the studio with a broken and lost beak. A replacement was molded and cast using a conservation-grade epoxy resin.
Glass Bird
Murano, Italy (20th century)
Untitled (ca. 1968) is one of Keith Sonnier’s (1941–2020) earliest neon artworks. It features two neon tubes—one horizontal, one vertical—along with two mirrored incandescent bulbs. I worked with the artist’s estate and a neon specialist to replace the broken tubes so the piece can be displayed again after nearly half a century.
Restoration of Keith Sonnier’s
Untitled (ca. 1968)
Above: The sculpture before treatment (left) and after treatment (right).
Working with the Museum’s conservators in August of 2023, I performed an ambitious survey and material analysis on approximately 60 collections objects.
Survey of Plastics in the Collections
of Cooper Hewitt, Smithsonian Design Museum
Conservation Installation Team,
Sarah Sze’s Timkeeper (2016)
at the Solomon R. Guggenheim Museum
I supported the objects, media, and paper conservation teams during the 2022 and 2023 installations of Sarah Sze’s mixed-media sculpture Timekeeper (2016).
I also specialize in the preservation of modern and contemporary artworks that rely on complex equipment and technology. As these components become harder to replace, my meticulous documentation ensures their long‑term care. From wiring diagrams to technical records, I safeguard the essential information needed for future exhibition and maintenance. My work with Dara Birnbaum’s landmark 1970s installation Wonder Woman at MoMA demonstrates my ability to preserve iconic variable media pieces while honoring the artist’s vision.
Experience with
Multimedia Artworks
