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T H E B U I L D I N G C O N S E R VAT I O N D I R E C T O R Y 2 0 1 4
T W E N T Y F I R S T E D I T I O N
3.2
STRUCTURE & FABRIC :
MASONRY
Tagging
The addition of a unique
signature or ‘tag’ to an object is about being
seen. Some types of tagging reportedly relate
to gangs marking territory.
In the case of repeated attacks,
encouraging the client towards a programme
of swift tag-removal quickly undermines those
people who have chosen to target a particular
monument. The purpose of being seen is
futile if the tag is removed within hours of
its creation. Swift removal also reduces the
likelihood of damage being caused by the
paint remaining in contact with the surface
over a period of time.
Attention seeking
This kind of vandalism
can often result in breakages. Commonly,
sculptures are climbed and the weaker points
suffer damage. The statue at the top of the
Shaftesbury Memorial (popularly known as
Eros although it actually depicts his brother
Anteros) is a common target for people who
want to get noticed. Each year, there is usually
at least one ascent resulting in some kind
of damage. The delicate bowstring is often
snapped and sometimes the bow is bent out of
alignment and requires careful manipulation
under moderate heat to return it to its
intended shape.
Theft
It is not just the successful theft
of metal statues for scrap that results in the
loss of historic fabric. The thieves are often
opportunists who lack suitable tools. Sadly
their efforts can still cause extensive damage.
Encouraging clients to have their statues
and monuments checked regularly is one of
the best ways of preventing theft. If fixings
are loose or broken, or joints are exposed
allowing tools to be forced in behind the
object, theft is much easier and therefore
more likely.
Vendettas
Bizarre as it may sound, some
statues have their own enemies. Vandalism
in such cases is targeted and undertaken
repeatedly. This type of vandalism can take
the form of graffiti or less superficial damage.
A white marble monument to the
Georgian statesman William Huskisson
in Pimlico Gardens, London suffered
repeat attacks over a number of years
during which one of the figure’s hands
was smashed repeatedly. This type of
vandalism was also suffered by the dolphins
on Shakespeare’s Memorial in Leicester
Square. One approach to conservation in this
context is to delay the proper conservation
treatment until the perpetrator is caught
or eventually loses interest and to make
a temporary repair in the meantime.
In the case of the Huskisson monument,
the ultimate goal was to reinstate the fingers
in the high-grade marble that the statue
was made from. In the shorter term, the
aim was to remake the fingers in a medium
that was very close in colour and texture to
the original but by a means that was easily
reproducible if they were smashed again.
It was important to make these temporary
fingers in a material that was soft enough
to break easily when hit so that the existing
marble was put under the least possible strain
when under attack.
Making a pattern of the fingers and
taking a mould served this situation well.
Casting the fingers in a marble dust mix
meant that the fingers were fragile enough to
almost disintegrate when struck and cost very
little to replace. Eventually, the fingers were
re-carved and reattached to the original stubs
with small non-ferrous pins.
Random attacks
This type of damage
can be the most difficult to deal with. Quite
often, the decision to vandalise has been
entirely unpremeditated and so a person uses
anything they might have on them such as a
penknife or key.
Social problems
Statues often provide a
focal point for people to gather around and
in some areas statues seem to be a magnet
for people with social problems such as
alcoholism, drug abuse or mental health
issues. Vandalism in this category is often
prolific and may take a variety of forms, from
graffiti to arson.
Encouraging custodians of sculpture
to understand the importance of good
housekeeping in the surrounding area is
a good preventive measure. Graffiti and
antisocial behaviour very often occur when
there is a neglected site, weeds, damaged
stones and other graffiti on buildings. If areas
look uncared for, an assumption can be made
that vandalism in that area is acceptable.
REMOVING GRAFFITI
Usually, the first method trialled to remove
graffiti from stone is steam, soap and a nylon
brush. This is often successful, although
ghosting can be left behind. This is the
result of the intense pigment density of the
paint which has penetrated the stone. When
this type of ghosting occurs, repetition and
patience can yield a positive result in time.
However, if the object in question is a famous,
high profile monument this adds an extra
dimension of pressure to any conservation
works, especially if there is intense public and
media interest.
Dichloromethane (DCM) worked
successfully with ghosting in most cases but
DCM was banned from use outside industrial
installations under EU REACH (Registration,
Evaluation, Authorisation and restriction of
Chemicals) regulations in 2012. Other solvent
poultices have since become available but
their performance is mixed. In some cases wet
abrasion using a low-pressure system such as
TORC can be effective against ghosting.
Removal of paint-based graffiti from a
bronze statue is relatively simple provided it
is done promptly. Steam is usually the first
method attempted but there is also an array
of solvents which can be tried without fear
of affecting the underlying patina. Unlike
varnish layers on paintings, it is not necessary
to worry about removing one material
without dissolving another. However, the
aftermath of graffiti left on for months at a
time is usually more challenging.
Often, the drying agents or binding
agents in paint contain an acidic component
and if the graffiti is left on for a period of
time, this will etch the patina. This means
that although the paint can be removed,
the underlying patina is lightened in the
exact pattern of the graffiti. In this case, a
conservator will try to blend out the damage
using re-patination in a very localised way.
This is an over-patination technique where
the lightened colour is used as a foundation.
Increasing the depth of colour without
overpowering one area can take as much time
as patinating a large area as it involves very
‘Big Blue’ by Ron Arad, Canary Wharf, London and, below, surface damage caused by football fans
