CRBMC. 2017.

The main work in this 17th century altarpiece restoration project was to clean up the paint layer from wood panels and pilasters and to achieve structural stabilization by replacing the crossbars without function by a mobile system.

2018.

The work consisted in removing the yellowed varnish form all the sculpture surface. Then the elimination of the overpaitings and a general cleaning of all the techniches from the surface.

2017.

Josep Puig i Cadafalch house is nowadays a Sport Museum and Studies Center. Its ceiling restoration work involved fixing the delamination and cleaning the paint layers of all the ceiling elements (wood and wall), the structural reintegration and retouching lacuna areas.

2018.

Restoration of four wooden panels representing four biblical scenes in Neoclassical style.
In this case, we made a careful study about several painting layers to decide the level of cleanliness required. Another important phase during the restoration process, has been the artworks and frames final presentation, with a poor state of conservation.

Collaboration with Policromia, S.L. 2016.

The restoration process consisted in cleaning the mural painting and removing the modern overpaintings. There was also a major work of retouching lost areas that were covered by the overpainting, now removed, giving back a full view of the painting as a whole.

Collaboration with Ecra, S.L. 2016.

In this trencadís restoration (Gaudi’s mosaic technique) in which glazing was lost from the main bench, the treatment was reintegrating the lost ceramics mortar, fixing those about to collapse, and retouching the lost painting always according to conserved models.

CRBMC specialization internship. 2015-2016.

The restoration of three niches and the predella from the altarpiece ensemble was mainly a structural intervention based on consolidating the support to prevent that the insect damage would cause the altarpiece to collapse. Afterwards, it was necessary to consolidate the paint layers and make some wood inserts in the losses. Finally, all the missing painting was cleaned and retouched.

CRBMC specialization internship. 2015.

After the intervention on the crossbars, we decided to remove the old varnish eliminating the yellowish distortion on the painting. Following this, we cleaned the painting removing all the dirt accumulated from years and lastly we applied stucco and inpainted all the missing areas.

CRBMC specialization internship. 2015.

In order to guarantee the Palau Moja mural paintings good preservation, this intervention consisted in consolidating the flaking paint about to collapse and retouching all the missing areas of loss painting.

Collaboration with Ecra, S.L. 2015.

This was the final phase of the porter’s lodge roof restoration treatment using trencadís (Gaudi’s mosaic technique), retouching the lost painting of the ceramic pieces. The process consisted in reproducing the drawing and colours only in those cases where it was possible, and always following the original examples preserved.

Collaboration with Ecra, S.L. 2015.

In this project, we first applied an anti-fungicidal treatment to prevent any future fungus or moss attack. The main part of the restoration process was the reintegration or replacement of the intervened areas and those which where not in good condition. For such purpose, we studied every hexagon to decide the most suitable treatment for each case those with anything attached that did not harmonize with the original composition were removed and pieces with smaller losses were reintegrated.

Collaboration with Ecra, S.L. 2014-2015.

This was a work on the mosaic from the ensemble planed by Josep Domènech i Estapà, and continued by Lluís Domènech i Montaner. During the present intervention, we proceeded with the mosaic extraction to be restored soon. First, it was protected with lining and a water-based synthetic resin to be extracted piece by piece. Later it was made insect-free, cleaned and conserved.

Internship in the Conservation-Restoration Department (Universitat de Barcelona). 2012.

This was a restoration treatment based on a dry cleaning of the superficial dust and insect removal to prevent future woodworm attacks. We proceeded with some sporadic consolidation of the breakable fragments and fixing those that were necessary. After performing the cleaning test, we chose a water-based cleaning method, and finally we reintegrated all the lost volumes and retouched the missing painting.