PROFESSIONAL ART RESTORER IN BRUSSELS
Laura Porcu
I am a professional Italian restorer working independently since 2016 in Brussels, where I have my restoration studio.
My restoration studies began in historic Florence, Italy where I attended a professional school in restoration of paintings on canvas and wood, and wooden polychrome sculptures.
After completing my 3 year art restoration and conservation course in Florence, I decided to expand my preparation to a higher level. I was admitted in the Conservation of Cultural Heritage Masters Degree course, held by the University of Turin in collaboration with “La Venaria Reale” Centre of Conservation.
Upon the completion of my course of study, I was given the opportunity to face a very challenging topic, upon which I wrote my final thesis and various publications: the reassembling of a marble sculpture (coming from the Archaeological Museum in Turin), using an innovative approach and modern techniques such as the Finite Element Method, photogrammetry, laser scanning, 3D printing and ultrasonic analysis.
I am very passionate about my restoration work, I have experience with a vast array of materials, and I am always up to date with new materials and modern techniques of intervention.
PROFESSIONAL ART RESTORER IN BRUSSELS
Perrine Franco
My name is Perrine Franco and I am a restorer/conservator of sculpted works. I have always been very interested in history and art, especially sculpture. It is therefore quite natural that I started my higher studies at ENSAV, La Cambre in Brussels in conservation-restoration of works of art. During my two years of master’s studies I specialized in stone materials.
The last year of my master’s degree was dedicated to writing my final paper entitled “Study of the cleaning of soot from a fire, embedded in the crystalline material of white marble”.
During my studies, I had the chance to do several internships, notably at Lapis Arte BV. There, I was able to work on the restoration project of the Rubenshuis, the Eucharistic tower of St. Peter’s Church in Leuven and on a commemorative sculpture in Zulte. This internship gave me the opportunity to gain experience on important restoration sites.
I also had the chance to go to Luxor in Egypt for a one-month internship in collaboration with a French mission and La Cambre. There, I was able to work on Ostraca’s and Oushebtis that had been buried in one of the tombs in the “Valley of the Artisans”. This workcamp allowed me to learn a lot about restoration on archaeological sites.
Finally, I did an internship at Tollis, located in Paris. During this internship I had the chance to work at the Opera Garnier and on one of the facades of the Louvre museum. I was also able to restore a large white marble sculpture.
Stone and plaster are the two materials I am most passionate about and with which I have specialized. These two materials include not only sculptures but also built heritage (facade decorations, stucco, mouldings, etc.).
SPECIALIZATIONS
Fields of Expertise
Paintings
Mural Paintings | Canvas Paintings | Panel Paintings
Sculptures
Stone Sculptures & Monuments | Plaster Sculptures & Bas-Reliefs | Wooden Sculptures
Wall Decorations
Mural Paintings | Frescoes
Mosaics
Floor & Wall Mosaics | Residential | Ecclesiastical | Historical Buildings
Plaster Decorations
Cornices | Mouldings | Ceiling Domes | Ceiling Roses | Ornamentation Residential | Ecclesiastical | Historical Buildings
Gold Leaf & Gilding
Frames | Gilded Artifacts | Gold, Silver & Metal Leaf
RESTORATION
Work Theory
My philosophy of the treatment of cultural artifacts is based on minimal intervention.
This approach towards the objects is based on a deep respect of each art piece, its original materials, and also its history. Such respect involves every step of the conservation process.
Preliminary to the intervention, I try to obtain the most information as possible using non-invasive methods such as multi spectral analysis.
If possible, I choose to use reversible, water-based materials, and I prepare my own colours and solvent solutions so that I know what is coming in contact with the surface of the art piece.
Nonetheless, I care for the environment, my clients and myself, so I continually try to use the least toxic products necessary.