Preserving the Arts and the Ecosystem

The pursuit of sustainability has become a core value in many practices today, alongside the ever-growing impact of climate change. At its core, sustainability can be defined as the quality of being able to continue over a period of time. Thus, in the context of the conservation of art and cultural heritage, we can consider it a core principle; treatments aim to maintain artistic, historical and cultural significance for the greatest possible length of time. Treatment processes have continuously developed, with different materials presenting different needs. A good treatment should account for an object's cultural background and treat it with respect. Historically, the materials and processes used in art conservation have not always accounted for their environmental impact. The decline of the global climate forces everyone to recognise the effect of their practice on the environment. So how are conservators recognising that impact in the way they treat objects? With the development of new, environmentally considered materials and technology, conservators can apply common methods and traditional practices while seeking to reduce environmental harm and still meet the requirements of an object's purpose. The process must always remain respectful of, and ethical towards, the object's nature and culture.

Many of our society's demands are met by the chemical industry; however, its rapid growth has led to an increase in disasters and spills of hazardous materials, causing the release of undesirable products. With communities coming together and raising these concerns and spreading awareness of the need to improve our chemical industries, there has been an interest and push for new goods to meet “greener” objectives. One recent improvement is the formation of biosurfactants. Before the introduction of these biosurfactants, methods to clean soiled, aged or vandalised artworks used a formulation of a solution based on polymer chemistry. These solutions would often release harmful byproducts and could have possibly posed long-term risks to the integrity of the object or artwork. So, what makes a cleaning product sustainable? Its development and impact of use on the ecosystem play a fundamental part in it. The process in which it is produced must minimise the buildup of hazardous materials and maximise the use of as minimal raw materials as possible.

A lot of conservation treatments require cleaning first. There are various types of surfactants available for use, depending on the type of soiling present. A highly rated non-ionic surfactant is polyethoxylated stearyl alcohol, also known as Brij 700. It is a cleaning agent used widely in the cleaning of oil paintings. Its molecular shape and composition make it an effective nonionic detergent as it yields the highest hydrophiliclipophilic balance, which is the balance between the molecule's ability to attract water and oil, making it an ideal agent against greasy soiling. The way in which the surfactant is produced can be regarded as biodegradable to UK standards. Biodegradability can be defined as “the breakdown of plastic monomers and polymers due to biological processes”. However, it is the rate of degradation that is important. Brij 700 is manufactured from bio-based products. Brij 700 is manufactured from ethylene oxide which can be derived from bioethanol which is a product of biomass sources. The use of renewable energy removes the reliance of the use of fossil fuels to manufacture it, making it a sustainable alternative with its performance matching those made with petro-based options. A formerly popular surfactant, now lesser used, is Triton X100. This was a popular and effective surfactant due to its hydrophobic qualities being able to absorb most types of soiling. Unfortunately, the hydrophobic component of the molecule, octyl phenol, is an oestrogen mimic and poses a threat to aquatic life. Octyl phenol causes the feminisation of male fish, rendering them nearly sterile. The use of Triton X-100 is regulated in countries due to its impact on ecosystems, but that’s certainly not to say there may be ways to develop the manufacture and use of this effective surfactant in more environmentally positive ways.

Although new developments in eco-friendly materials are being produced, we can also look to other cultures and their conservation practices for more sustainable and ethical materials and treatments. A relatively recent material that has come into the conservation world is the use of Japanese tissue paper. The sharing of knowledge of the materials and how it can be used has provided various alternative methods in the repair and consolidation of paper and materials of a similar nature. Common methods of repair previously used were goldbeater's skin, which is derived from the thin membrane of bovine intestines, and transparent paper, which is chemically treated to provide properties for the paper. The alternative use of Japanese tissue paper follows a completely natural process method consisting of disciplined picking, washing and beating of the Kzo plant. This method can be dated back centuries, and the art of producing washi-style paper is considered a UNESCO Intangible Cultural Heritage Object. Sustainability is not just achieved by new ideas and technologies, but can also be achieved by looking to other traditional methods.

With the active impact of climate change on our ecosystems, sustainability is vital to the future of our world. The pursuit of a healthier ecosystem is a collective effort that can be supported through many aspects of day-to-day life. Sustainability in conservation depends on collaboration, learning from other cultures and developing new ideas from past efforts. This article does not intend to credit or discredit any of the methods above, but offers a reflection on how art conservation can incorporate sustainability within the heritage-protection sector.

Editorial note

Mak’s essay shows that responsible conservation is a balance rather than a shortcut. Any lower-impact material or method must still be compatible with the artwork, proportionate to the treatment and respectful of its cultural context. For collectors, preventive care—stable display conditions, careful handling, good documentation and timely specialist advice—can often reduce the need for more intensive intervention later.

Questions collectors often ask

Does a greener conservation material automatically make a treatment appropriate?

No. Compatibility, reversibility where possible, cultural context and the long-term stability of the artwork remain central. Environmental considerations should inform professional judgement, not replace it.

What information should accompany an artwork?

Retain invoices, provenance, condition reports, material and technique notes, display instructions and records of any treatment. Good documentation supports future care and responsible stewardship.

When should a collector consult a conservator?

Seek specialist advice when damage appears, before cleaning or repair, and when planning demanding display, storage or transport conditions. Avoid applying household products or untested remedies to an artwork.