VMFA’s extraordinary team of conservators at the Susan and David Goode Center for Advanced Study in Art Conservation combine art, science, craft, and history for the stabilization and preservation of the museum’s vast collection. There are specific labs dedicated to objects conservation, conservation of paintings, and works on paper and photographs. “I definitely have my dream job since I regularly get to work on a variety of objects,” says Ainslie Harrison, Senior Objects Conservator at VMFA. “In the morning, I could be helping with a contemporary video art installation and in the afternoon, it could be a 2,000-year-old mummy portrait.”
In 2020, VMFA acquired its first suit of 18th century Japanese samurai armor from the Edo period; this acquisition occurred right at the outset of COVID-19, making restoration and installation very complicated. The special armor was delivered to a skeleton crew staff, and it was challenging to work under such restricted conditions. Six or seven months of meetings took place as conservators tackled the best way to stabilize and restore this unique armor. Ainslie explains that there is a process in the lab for this type of acquisition: a conservator performs an examination to determine the condition of the artwork, whether it needs treatment to improve its stability or appearance, and what specialists are needed for that work.
Ainslie coordinated the conservation process, bringing in a specialist in textile conservation. She adds, “I worked closely with the curator and designer throughout the design process. The curator told us how the armor should look on display, and we made that happen in a way that put as little physical and environmental stress on the object as possible. This involved the design and construction of a pedestal, mounts, and a custom mannequin to best support the fragile components of the armor. While this behind-the-scenes work ensures the long-term preservation of the armor, it should also be invisible to the viewer.” VMFA’s armor came with a headdress bearing a hidden family crest reportedly used by a branch of the Ando clan.
“The most delicate component of our armor was the silk, which was very fragile and deteriorated. We brought in a textile conservator who realigned the frayed silk threads and added a protective netting overlay in a neutral color that blends with the silk fabric,” says Ainslie. The lavish multicolor silk, gilt, and lacquered helmet are just a few of the embellishments on this unique work of art.
Samurai Armor from the Collection of Ann and Gabriel Barbier-Mueller will be on view at VMFA through August 4, 2024. Having been part of the restoration team for VMFA’s armor, Ainslie has a unique understanding of the intricacies of the objects involved in this new exhibition.
“I can’t help but look at the materials for evidence of use and repair. It’s a bit of an occupational hazard in conservation. The Japanese have traditional methods of restoring historic objects, so it’s always interesting to look at the craftmanship and condition of the different components to try to guess what has been restored.” She adds, “The exhibition design is also spectacular. The designers, lighting department, mount makers, and installers all did a great job.”
Details matter to Ainslie Harrison who, like her fellow conservators, enjoys preserving these objects for the next generation. “I am a lifelong student here, which is very rewarding.”