De Wain Valentine: Eser Yüzeyinin Önemi

the attempt is to finish them so that there are no scratches or imperfections on the surface so that the surface itself begins to disappear in the eye of the viewer and you don't notice it but you look directly into the piece when I did shows with Duane it was like I had to almost have a cattle prodder in the exhibition with a guard to stop people from going in touching the pieces that very heavy material yet when you look at them there's a lightness about them with a light the texture a lot of these works are fragile which easily scratch and also they do tend to age when exposed to light there is definitely a conflict between the Immaculate nest of the finish the surface and the natural phenomena of the piece aging it's very important to have them re-- polished the polishing thing happens and this the piece is like new again they're not just dealing with the scratch you have to irreversibly altered a lot of surface area in order for that scratched to disappear all things and beings change over time and that history or experience if you will is visibly lost when you removed the surface there was a surface quality that was achieved that may be quite different than what's achievable now using more modern materials what's important to me as far as from a conservation perspective is the artist originally intended experience if there's been damage or something that distracts from being able to recreate that image then the piece is lost and I think it's okay to bring it back to that to that level we wanted to use this exhibition to kind of pose the question would it be right to actually sort of improve the finish even if the technology had become available and even if the artist would have wanted that would it be right to you know finally make this piece as it was intended or is it actually far more authentic to keep to the surface that was created in the seventies you