The opportunity to safeguard and preserve a valuable piece of cultural heritage is a privilege that very few get !
Vedika Kochhar, our next pathbreaker, Conservator and Restorer (Founder) at Partum Restauro, works on restoration and conservation of artworks across the world.
Vedika talks to Shyam Krishnamurthy from The Interview Portal about making the transition to the world of Art Conservation after her brief stints in International Relations and Arts Business !
For students, career paths can always change; the more you try out different things, the better you will know what you are looking for.
Vedika, tell us what were your growing up years like??
I was born in Mumbai and spent my entire childhood in the city. Growing up, I always was inclined towards the arts; painting and sculpting as a child. My mother introduced me to my first exhibition, and galleries which had an immense influence on my career path later in life. Being a voracious reader, I read about the artists, their lives, techniques and mediums though I never once considered a life in the arts.
What did you do for graduation/post graduation?
I completed my BA in Economics and International relations, and a minor in Art History with the childhood goal of working for the UN. I had the opportunity to intern with them for 10 months, but to my surprise, the role was not what I had always dreamt about. It wasn’t the idealistic peacekeeper I had always imagined or led to believe. Hence, I decided to change my path. The second choice was a no-brainer for me, it had to be art. I then did my Master’s in Art Business and subsequently completed my Master’s in Conservation and Restoration of Art.
What were some of the influences that led you on the path to becoming an Art Conservator?
I always believe that this career chose me. It was an interesting turn of events which got me to where I am now. I completed the IB curriculum after my ICSE. For my undergraduate studies, I completed my BA in International Relations and Economics with a minor in Art History from Boston University. For all studies in the America I had to complete my SAT’s and subject tests. I chose Art Business since I loved the arts and enjoyed the business aspect of the art world. I learnt about Sotheby’s from a my art history professor at BU. Since Sotheby’s is a primarily a business program, my background in Economics helped and also a background in art history helped immensely with the interview and entrance exam. This program prepared me for every aspect of the art world. We learnt about international art markets, business models of private and public institutions, marketing and market analysis, law and ethics of the arts, conservation and about luxury markets such as fine wine, vintage cars and collectables.
The auction houses, the buying and selling, and the analysis of markets was very fascinating to me. But while at Sotheby’s my mentor insisted, I study conservation. He believed I had the temperament, patience and skill (artistically and a good background in Chemistry) to be a conservator. After a few years of working with auction houses and galleries in Mumbai, I decided to do a short course in Florence in conservation. Italy has the longest history of art conservation and practices, so it was an instant decision to go to Italy. The only caveat is that you must learn Italian to be able to study conservation in the country. Little did I know that a three-month course would turn into a master’s, a job and more than three years of living there. I have always been lucky to have a family that supported my every endeavor and always pushed me to learn more and be better.
How did you plan the steps to get into the career you wanted?
Career paths can always change; so I always encourage students in college to take on diverse internships. Once I made the transition to the art world, I first worked as a Market Analyst for Astaguru, an online auction house. I gained insights into the art market, the workings of an auction house, the acquisition processes as well as client relations. I went on to work for DAG Mumbai as manager of sales. Here I learnt the workings of a gallery, the mechanisms of the primary market and gained sales expertise. Though all of this was exciting, I felt something was missing.
When I started my course of conservation, the feel of working with one’s hands was overwhelming. Since I had studied chemistry for many years during school and university, I had a solid base to work with though a lot of additional chemistry is taught throughout the masters. The satisfaction of being able to safeguard and preserve a valuable piece of cultural heritage was more satisfying for me than selling a masterpiece. The research-oriented approach of conservation was another aspect which roped me in. Conservation techniques learnt through university is a discipline you have to keep updating, learning new approaches, newer techniques along with a lot of research.
How did you get your first break?
I got my first job in conservation in Florence through my university. It was at a local studio Felice degli Artigianelli Restauro Dipinti, restoring paintings. Here we worked on artworks from local churches around Florence, Siena and Pisa. This included investigations into artworks, research of their history, pigments and binders used, the atmospheric conditions they had been exposed to over the years, cleaning and restoration of any cuts, tears and damages. My first break on returning to Mumbai was through the Tia Foundation, an international art institution started by a family in Mumbai.
What were some of the challenges you faced? How did you address them?
The biggest challenge in conservation and restoration is that you cannot market yourself in a traditional sense. When it comes to artworks owned by private clients, auction houses and institutions, there is an understanding of non-disclosure. Restoration can change the value of an artwork and its perception in the market. To network, we rely on word of mouth and networking.
The second biggest challenge as a young conservator is gaining the trust of the client. Especially, in India, there is this thought process of if you are young, you do not have the experience. But it’s the opposite. Younger conservators are exposed to newer technologies, testing processes and reversible techniques which old conservators are not. The only way then is let your work speak for itself. Do one work for a client so you can gain their confidence before they can hand over more important work.
Another big challenge as a conservator in India is the lack of collaboration. Each conservator cannot know everything about a certain medium as each artwork is unique in its properties and problems. Abroad,, conservators collaborate, exchange ideas and help one another for the benefit of cultural heritage. In India conservators are more bullish. The only way to benefit our culture is to work together.
Where do you work now? Tell us about your current role
I have founded my conservation and restoration studio in Mumbai in 2018 and work on projects in Dubai. I chose Dubai since the UAE right now is trying to make itself the new art hub, opening numerous museums from around the world such as the Louvre in Abu Dhabi and the Guggenheim which is to open in 2025. They are also creating museums and foundation to showcase their own cultural heritage, and the requirement for conservators is only growing.
What are some of the skills required for your role? How did you acquire them?
Conservation requires patience, diligence and a good background in Chemistry and painting. Most of the profession is based on Chemistry. Without the understanding of the organic and inorganic properties of the mediums, pigments, binders and protective layers used, you would not know how any chemicals you would use in the conservation process would react with the artwork. To understand why the artwork has or will deteriorate, one needs to know its chemical make-up and the environment. So, without this knowledge you cannot devise a conservation plan.
What’s a typical day like?
Every day a conservator’s work can look very different depending on the artwork. Sometimes you must go on site to work on large pieces. Some require additional testing such as XRF or pigment analysis which then require the tools of the museum. Some works require extensive condition reports and final work reports which need to account everything that has gone into the conservation process. Some days are all about editing images as all works must be photographed in different lights, at different stages of the conservation process and after.
What do you love about your work?
I love every aspect of the job. From the first moment of removing the packing of a work received for conservation, to the photography, the background research to finally seeing the end results. Sure, there are some days which are more monotonous or maddening but in the end it’s all worth it.
How does your work benefit society?
Conservation is about safeguarding our cultural heritage whether in museums, institutions or in private collections. We must be able to preserve these works for future generations to understand the evolution of our culture, the external influences as well as the progression of artistic mediums. In a country like India with such diverse artistic capabilities according to geographic regions, protecting this is preserving the history of these societies. We are the custodians of our own history.
Tell us an example of a specific memorable work you did that is very close to you!
The most memorable work I have done was an altarpiece from the 17th Century of Angel Gabriele. It was housed in a small church on the outskirts of Florence. This work was unique as the work had been restored numerous times before. When we conducted the X-ray analysis, we found that the direction of one leg had been changed two times before, and we were to change it back to its original on the behest of the church. It was challenging work which took almost 8 months to complete, but the result was worth it all.
Your advice to students based on your experience?
I strongly advise all students to try different internships in all areas of interest to them. Reading about a career and doing the work are very different things. The more you try, the better you will know what you are looking for. Also, I advise students not to be myopic in their studies. Keep an open mind to other disciplines.
Future Plans?
I would like to continue expanding my professional base in India and the Middle East.