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Daria Gorbaczewska is an object conservator specialized in sculpture and technical heritage.
Daria Gorbaczewska is an object conservator specialized in sculpture and technical heritage.
She obtained a Master's degree in conservation-restoration of sculptures from the parisian Institut national du patrimoine. She holds two Bachelor's degrees, one in sociology and one in conservation of technical heritage from german universities.
She obtained a Master's degree in conservation-restoration of sculptures from the parisian Institut national du patrimoine. She holds two Bachelor's degrees, one in sociology and one in conservation of technical heritage from german universities.
Deeply fascinated by cultural heritage and social history, she is actively specializing in the preventive conservation to provide services in collections care.
Deeply fascinated by cultural heritage and social history, she is actively specializing in the preventive conservation to provide services in collections care.
During her 12-years long training, she worked in international contexts on various conservation projects in Germany, Austria, France and Italy.
During her 12-years long training, she worked in international contexts on various conservation projects in Germany, Austria, France and Italy.
She is fluent in four languages and interested in an international career to promote European heritage.
She is fluent in four languages and interested in an international career to promote European heritage.
A Note on What and How of Conservation Decision Making Process
The concept for conservation aims to do justice to the complexity of an object. It is based on answering the questions why an object should be restored and what appearance it should have in order to present the complexity of its history as well as its meaning as clearly as possible. Finally, the decision concerns the question of what the object should be presented as.
Firstly, all its historical phases should be assessed in terms of their importance; secondly, its influence on technology, society or culture should be weighed; thirdly, the possibilities of restoration should be evaluated that will fulfill the objectives without distorting the object.
Every action on the surface of the cultural-historical object inscribes itself in a certain taste of the time. If the restoration has not been properly considered, it can result in a false effect in a few decades, because it no longer belongs to our taste of the time, but also does not belong to the original time of the object. This is the main argument for the non-invasive conservation treatment, which is mainly concerned with the preservation of the materials without changing their appearance too much. This appearance should be balanced, the function of the object and its inscription in a particular time in history should be visible.
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