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Patina or impairment: interpreting surface changes to contemporary plastic jewellery

Patina or impairment: interpreting surface changes to contemporary plastic jewellery
Patina or impairment: interpreting surface changes to contemporary plastic jewellery
The existence of patina, or surface change on objects that accrues over time, is widely accepted within the conservation profession. Aesthetically patina is most often regarded as a positive addition to objects and is described using terms such as ‘beautiful’ and ‘maturing’. Jewellery created from plastic inevitably suffers surface changes particularly scratches, chips, loss of colour and surface whitening, which have similarly amassed over time. Whilst jewellery constructed from conventional precious materials is regarded by curators and conservators as capable of acquiring patina, plastic artist jewellery, to date, is not. Instead they are frequently considered as damaged and marred.
When considering the preservation of plastic jewellery, therefore, the following question arises. If traditional jewellery can acquire patina then why consider plastic jewellery in a different frame of mind? By considering the occurrence of and attitudes towards patina on both jewellery and plastic objects, the paper will propose the existence of patina on plastic jewellery. Views of artists will be considered alongside those of curators and conservators to offer terms of reference that can distinguish patina from other types of damage encountered in contemporary plastic jewellery. As a result the ageing and deterioration processes of these artefacts can be better interpreted and understood.
plastic, patina, artist jewellery, interpretation, conservation, surface changes
Rogerson, Cordelia
6a4304e8-c25a-493c-80aa-28e3d0e229b5
Rogerson, Cordelia
6a4304e8-c25a-493c-80aa-28e3d0e229b5

Rogerson, Cordelia (2006) Patina or impairment: interpreting surface changes to contemporary plastic jewellery. Conservation Symposium Royal College of Art/ Victoria & Albert Museum 2006, London, UK. 07 May 2006.

Record type: Conference or Workshop Item (Paper)

Abstract

The existence of patina, or surface change on objects that accrues over time, is widely accepted within the conservation profession. Aesthetically patina is most often regarded as a positive addition to objects and is described using terms such as ‘beautiful’ and ‘maturing’. Jewellery created from plastic inevitably suffers surface changes particularly scratches, chips, loss of colour and surface whitening, which have similarly amassed over time. Whilst jewellery constructed from conventional precious materials is regarded by curators and conservators as capable of acquiring patina, plastic artist jewellery, to date, is not. Instead they are frequently considered as damaged and marred.
When considering the preservation of plastic jewellery, therefore, the following question arises. If traditional jewellery can acquire patina then why consider plastic jewellery in a different frame of mind? By considering the occurrence of and attitudes towards patina on both jewellery and plastic objects, the paper will propose the existence of patina on plastic jewellery. Views of artists will be considered alongside those of curators and conservators to offer terms of reference that can distinguish patina from other types of damage encountered in contemporary plastic jewellery. As a result the ageing and deterioration processes of these artefacts can be better interpreted and understood.

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More information

Published date: 8 May 2006
Venue - Dates: Conservation Symposium Royal College of Art/ Victoria & Albert Museum 2006, London, UK, 2006-05-07 - 2006-05-07
Keywords: plastic, patina, artist jewellery, interpretation, conservation, surface changes

Identifiers

Local EPrints ID: 39901
URI: http://eprints.soton.ac.uk/id/eprint/39901
PURE UUID: ae3b56ce-ea73-4ccd-a129-7c3f4f23948d

Catalogue record

Date deposited: 30 Jun 2006
Last modified: 11 Dec 2021 15:47

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Contributors

Author: Cordelia Rogerson

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