After more than 28 years, Burica Inc. Fine Art Conservation is slowly winding down. I've dedicated to preserving art and artifacts for future generations. The use of materials and methods for treatment are carefully undertaken for the preservation of the aesthetic, conceptual, and physical characteristics of the work of art, considering the future effects of the conservation materials incorporated into the art during the repair process. I select appropriate conservation techniques that respect the artist's original decisions regarding materials, methods, construction and conceptual ideas. I started in 1987, after years of learning and making things in art school, and years of treating great master pieces, I now have been making my own works of art. As you might know it is a passion.
At auction houses, gallerys, and private pre-sale meetings, let me examine surfaces for issues. Most paintings and works on paper have been touched or treated before, which does not have to be a bad thing; just I feel it is important to know this when possible. Benefit from my expertise before the sale, via email photos and verbal discussions.
All correspondence, documentation and photos are secure and confidential, and will not be shared without your permission.
Once artwork is examined, clients can receive a detailed Condition Report and Conservation Treatment Proposal, including digital pictures documenting the current condition of the art. Base charge is $1000. If Treatment is requested, I will ask for deposits, along with Insurance waivers. Treaments include reconstruction of support elements, distortion repair, tear mending, and lining or unlining of paper or canvases as necessary. These initial repairs are followed by compensating losses, cleaning, in-painting, and applying fresh coatings/varnish.
I am not a framer, but because I have seen more works of art on paper damaged by inappropriate framing than by age or accidents, I provide specialized recommendations for the technical framing components necessary to avoid future damage. Some of these conservation concerns include ways to mount, hinge, and glaze a work to prevent damages from UV light or poor mounting. If you use hinges, try to use "cooked paste" with no additions, never use sticky tapes, never use white glues.
I have access to other talented conservators, with whom I contract to work together on larger projects. I know art moving companies and art storage warehouses, as well as specialized rigging companies to safely de-install and re-install large pieces.