Extending the lifespan of historical paintings, manuscripts, monuments and artifacts, is not just about protecting our cultural identity but also about ensuring that science protects the structural integrity of the artefact while art restores its visual soul.
Nisha Prashanth Setty, our next pathbreaker, Assistant Conservator at Indus Art Conservation Services, specializes in preserving and conserving paintings, works on paper, objects, and other culturally significant artifacts for museums, galleries, and private collectors.
Nisha talks to Shyam Krishnamurthy from The Interview Portal about leveraging her academic foundation that was strictly scientific, focusing on Chemistry and Environmental Science, and transitioning into a Master’s program in Italy, dedicated to art conservation science to work at the intersection of science and art.
For students, have the courage to explore the unconventional. Look at the subjects you love, find the invisible threads that connect them, and build a career that doesn’t just earn a living, but preserves, alters, or improves the world around you.
Nisha, Your background?
I grew up and spent my foundational years in Bengaluru, India, where my academic journey eventually took me to Mysore and later across the globe to Italy. My initial interests always sat at a unique intersection of scientific curiosity, environmental awareness, and a deep appreciation for the arts.
Creatively, I am a passionate painter, sketcher, and storyteller. I actively engage with the arts community as an enthusiast and share my thoughts, travels, and creative work through blogging. On the civic front, I served as a City Coordinator (Mysore) for FlyHigher India, an NGO dedicated to providing primary education and essential social skills to underprivileged children.
What did you do for graduation/post graduation?
For my graduation, I pursued a Bachelor of Science at Yuvaraja’s College, Mysore in India, where I majored in Chemistry, Geology, and Environmental Science.
Later, I moved to Italy for my post-graduation, earning a Master of Science in Science for Conservation & Restoration of Cultural Heritage from the Alma Mater Studiorum – Università di Bologna. This advanced degree bridged the gap between my love for science and art.
What made you such an offbeat, unconventional and unusual career in Art Conservation Science?
Growing up in a humble household where both of my parents were self-employed was a massive foundational influence. Their independence and work ethic gave me the confidence to pave my own non-traditional path. A major kickstart was my time at Yuvaraja’s College, University of Mysore, where I studied Chemistry, Geology, and Environmental Science. The defining moment came when I transitioned from theory to hands-on field research. This undergraduate fieldwork served as the bridge I needed, transforming my initial interest in science into a lifelong mission to use scientific analysis to preserve and protect cultural heritage, where my passion always lay.
The definitive turning point was realising I didn’t want to choose between science and art. Discovering the Master’s program at the Università di Bologna in Italy changed everything. Moving to Ravenna to study the Science for Conservation & Restoration was the moment my two worlds collided perfectly.
Working alongside professors at the university and professional mentors during my internships solidified my calling. I wasn’t just studying science anymore; I was using it as a tool to save cultural heritage.
The Master’s program I did in Italy basically trains you to be a “Conservation Scientist.” It’s an interdisciplinary program whose core focus is learning to conduct a comprehensive diagnostic study of an artwork before you even think about touching it. We spend a ton of time learning advanced physics, chemistry, and Geology to run advanced diagnostic tools to look through the artwork. This diagnostic phase lets us identify the exact pigments the artist used, map out hidden underdrawings, and figure out the microscopic chemical reasons behind why the piece is decaying. Once we accurately diagnose the “disease” of the artwork, we shift into the action phase, learning the precise chemical formulas and tech tools needed to clean and restore it safely. Because it’s a hardcore science degree, a solid background in science, especially chemistry, was a prerequisite.
Structurally, the Master’s is basically a 2-year course. The first three semesters are packed with regular theory classes and practical lab sessions. Once we clear all of that, we move on to the final research thesis. The university demands an incredibly high-quality, rigorous thesis, so it can easily extend based on how much time our specific research takes to finish. In my case, once my three semesters of coursework were done, I dedicated a full year to executing my research thesis, which is why it took me about 2.5 years in total to complete everything and graduate.
I did a few projects at University. Most of them were part of the coursework and some as a part time worker at the university itself. It involved me working in the laboratories, helping the senior students or PhD students in the documentation and cataloguing.
Also, freelance writing was the perfect way to earn some additional pocket money and income to support myself during my student years in Italy.
How did you plan the steps to get into the career you wanted? Or how did you make a transition to a new career? Tell us about your career path
My career path was shaped by a unique blend of personal freedom and genuine curiosity. I always had an innate interest in art and an analytical mind that drew me toward the sciences. When I chanced upon the Master of Science in Science for Conservation & Restoration of Cultural Heritage, it felt like an absolute “eureka” moment. It was tailor-made for me. I knew instantly that this was it.
Today, those planned steps have culminated in my current role as an Asst. Conservator. I now spend my days doing exactly what I envisioned, using precise scientific assessments to develop treatment plans that ensure the long-term survival of paintings, historical papers, and artefacts for museums and private collectors.
How did you get your first break?
The real break during this period was my internship with the Institute of Atmospheric Sciences and Climate (CNR-ISAC) in Bologna. I was tasked with conducting a vulnerability and impact assessment of pollution and climate-induced damage on the historic center of Rieti. This project allowed me to directly apply my undergraduate roots in environmental science and chemistry to real-world heritage preservation. Alongside my art restoration internship back in India with the INTACH Conservation Institute, where I worked hands-on with chemical analysis, cleaning, and consolidating significant oil paintings, this period served as my true entry point into the conservation community. It proved that I could seamlessly navigate both the scientific laboratory and the delicate physical conservation/restoration of priceless art, paving the way for my current role as a professional conservator.
What were some of the challenges you faced? How did you address them?
My academic foundation was strictly scientific, focusing on Chemistry, Geology, and Environmental Science. Transitioning into a Master’s program dedicated to art conservation meant I had to immediately learn art history, art terminology, and historical restoration methodologies alongside advanced laboratory science.
Moving from India to Ravenna, Italy, was a massive cultural, linguistic, and geographical leap. Furthermore, I had to apply my knowledge to European heritage sites, which had entirely different architectural, political, and environmental contexts than the field research I had done back home.
Where do you work now? What problems do you solve?
Currently, I work as an Asst. Conservator at Indus Art Conservation Services in Bangalore, India, where I specialize in preserving and conserving paintings, works on paper, objects, and other culturally significant artifacts for museums, galleries, and private collectors.
Indus Art Conservation Services is a specialised art conservation and restoration firm/studio based in Bangalore. It was founded by Ms Nalini Biluka with the vision of safeguarding cultural heritage through dedicated care and expertise. Rooted in commitment to scientific methods and ethical practices, the studio provides specialised conservation treatments for paintings, works on paper, sculptures, polychromes, and other cultural artefacts. Indus was founded on realising the need to establish trained, professional, ethical, scientific and sustainable conservation practices and services in South India. Furthermore, through meticulous conservation, research, and education, we seek to enhance understanding and foster the ethical preservation of cultural heritage.
No two days are exactly the same. I usually start my day in the studio conducting condition assessments to analyze a newly arrived painting or artifact. The rest of my days are spent doing highly focused, meticulous conservation work.
What I love most is that it is the ultimate realisation of my dream, a career where I never have to choose between science and art. I get to use the analytical, logical side of my brain while simultaneously using my artistic intuition and skills to physically bring history back to life. There is an incredibly profound reward in knowing that my daily work directly saves a piece of heritage from fading away into oblivion.
How does your work benefit society?
At its core, cultural heritage conservation is not just about preserving old objects; it is about protecting our collective human memory and identity. By using my background to extend the lifespan of historical paintings, manuscripts, monuments and artifacts, my work directly benefits society in several profound ways. It ensures that the physical manifestations of human creativity, wisdom, and history do not fade away, allowing them to remain accessible, educational, and inspiring for centuries to come.
Tell us a little about how your work leverages a mix of science and art?
My work lives completely at the intersection of science and art. Before ever touching an artwork, the scientific phase takes the lead, we treat the piece like a forensic patient, using chemical diagnostics (XRF, FTiR, Raman spectroscopy etc), and microscopy to map out, what and how the materials are degrading over time. For example, cleaning a century-old yellowed varnish requires calculating exact solubility parameters to formulate a solvent mixture that safely breaks down the grime without harming the original paint layer underneath. Once chemistry guarantees safety, the artistic execution begins, requiring color theory and manual precision to seamlessly integrate lost areas. By using specialized conservation treatments that are completely reversible, we ensure that science protects the structural integrity of the artefact while art restores its visual soul.
Tell us an example of a specific memorable work you did that is very close to you!
A recent project that is incredibly close to my heart was with Indus Art Conservation Services, where we were tasked with conserving a massive, 30-foot outdoor sculpture. It was, without a doubt, one of the most physically exhausting projects. The sculpture was located right in the chaotic centre of a busy traffic intersection, forcing us to deal with the intense heat, constant noise and pollution. What made this project deeply special to me, beyond the intense technical challenge, was that we tackled it entirely as an all-girls team. Scaling a 30-foot structure under such gruelling, exposed environmental conditions tested our limits every single day. Yet, through sheer dedication, teamwork, and meticulous execution, we successfully conserved and stabilised the piece. That sculpture stands today not just as a preserved piece of public art, but as a permanent personal reminder of the profound strength, resilience, and perseverance we are capable of when driven by a shared dedication to protecting cultural heritage.
Your advice to students based on your experience?
In India, there is a massive cultural conditioning that pushes students almost exclusively toward engineering or medical fields. While those paths are noble, they are not the only ways to build a highly successful, intellectually stimulating, and impactful career. The world is filled with brilliant, unconventional fields like cultural heritage conservation that sit right at the intersection of multiple disciplines. If you limit yourself to standard career templates, you might miss out on a path that feels custom-built for your specific soul and skill set. Have the courage to explore the unconventional. Look at the subjects you love, find the invisible threads that connect them, and build a career that doesn’t just earn a living, but preserves, alters, or improves the world around you.
Future Plans?
First and foremost, I plan to delve much deeper into advanced research. Art conservation is an incredibly dynamic field where science, technology, and art are constantly evolving, and my goal is to never stop learning and exploring.