Left:EleanorKing createdplaster casts of figs for her studiesBelow:KatrinaRedman ispursuing herdesire to gain skills inmetalworkconservationHelping handThe Patricia Fay Memorial Fund enables talented individuals to pursue their artistic passions. We catch upwith six beneficiaries to find out how NADFAS sponsorship has made a differenceELEANOR KING: BA (HONS)CONSERVATION STUDIES, CITY AND GUILDS OF LONDONART SCHOOLMuseums have always fascinated meand visiting from an early age initiatedthoughts about working within the fieldsomehow. I became seriouslyinterested in conservationwhile takingeveningclasses inbookbinding,jewellery makingand museology. This ledme to the role of Conservation Technicianfor the Marianne North Gallery Project atThe Royal Botanic Gardens, Kew andthe experience was instrumental in mychoice to pursue a career as aconservator. The combination of workingwith historic objects, practisingtraditional crafts and carrying outmaterials research is very appealing. A NADFAS grant has helped me paythe fees for the first year of the three-year BA (Hons) degree in ConservationStudies at City and Guilds of London ArtSchool. Since beginning the course Ihave enjoyed introductions to stone andwoodcarving, plaster casting andgilding. Intense drawing classes onornamental and life subjects, plushuman anatomy lectures have improvedmy observational skills. Experiencingsuch crafts first-hand has enhanced myaesthetic and technological appreciationof decorative objects. Understandingmaterials and their behaviour during theprocess of making will be of greatbenefit when I begin handling objects GRANT GIVINGfor conservation later in the course. Conservation theory classes havecovered a wide range of subjects,including ethics, preventive conservationand condition assessment. Museum andstudio visits have been especiallyenjoyable. The greatest challenge sofar has been an introduction tochemistry, while lectures inWestern art history, architectureand decorative styles haveadded more backgroundknowledge. A week atWestminster Abbey withclassmates spent cleaningthe ornately carved andgilded choir stalls was a greattest of our initiative andteamwork skills. During the remainder of the first year I look forward to continuing to carve acartouche in lime wood, and to learningjapanning and lacquer work techniques.I am particularly excited about beginningpractical conservation of lime mortarand stone. KATRINA REDMAN:POSTGRADUATE DIPLOMA -CONSERVATION OF METALWORK,WEST DEAN COLLEGEPrior to arriving at West Dean College Ihad worked in conservation for just overthree years. During this time I workedwith a variety of collections includingsculpture, archive materials andarchaeological metalwork. I gainedparticular enjoyment from working onmetalwork and felt that West Deanwould enable me to develop this interestand my skills. During the first term students mainlyconcentrate on iron and associatedferrous metals. The first object I wasasked to treat was a Victorian churchdoor lock from Stansted House. Theiron lock had a decorative woodenframe that had been painted black onnumerous occasions. The lock was in itslocked position with no means ofmoving the bolt prior to conservation.During the first semester I have visiteda number of workshops with the othermetal work students, including theNational Maritime Museum and ClivedenConservation. These visits highlight thevariety of work that other studios areworking on and different workingpractices, and allow us to network withother professionals, something which isextremely important in conservation. During this second semester I havebeen on a work placement with privateconservator Brian Hall of HallConservation. Hall Conservation mainlyspecialises in the conservation of large24NADFAS REVIEW / SUMMER 2011