Striking a balance between materials that are eco-friendly and affordable with finished pieces that are stable and durable. Organic, recycled, or recyclable materials change overtime and breakdown which is the point. But, stabilizing that process to prolong the life of my art is something I have to consider. However, one day my art will disintegrate and when it does, I do not want that process to harm the planet. Sustainability encompasses both of these notions: my art pieces being sustainable through time and an eco-friendly approach that is sustainable. I ask myself, ‘what problems would an art conservator encounter when approaching my work 50 years from now?’.

Here are a few ways I’m learning and experimenting in regards to sustainability:

Cardboard
I use cardboard from grocery stores, moving boxes, and old food packages as the foundation for many art projects. These items can be recycled into new packaging, so turning them into art is not the same form of recycling. Preserving the cardboard into a lasting and durable art material renders the cardboard unrecyclable.

From an art conservation standpoint, the acid in the cardboard would be the biggest issue over time. The kraft paper layers that sandwich the corrugated center of cardboard would likely turn brittle as it breaks down during the aging process and the adhesive that holds those layers together would have less of a bond. A deacidification spray would help, but also loosen the adhesive that bonds the 3 layers together. If I deacidify the cardboard, I would have to reglue the structure of the cardboard in addition to any gluing done to form the art piece, so varnishes are my best bet for now to stabilize the organic acids in the tree pulp that makes up cardboard.

After a cardboard artwork is complete, with all shapes glued in place and the paint slapped on, I usually seal both sides of the finished piece with a spray or liquid sealer. This can fill any pits and crevasses in the kraft paper, which sandwiches the corrugated center, and ensure an even coating of any other material thereafter. Then, I reinforce the edges and sides with adhesive to prevent unwanted peeling between the cardboard layers in the future. Afterwards, I might use a varnish for added protection and waterproofing. I make sure to extend this to the edges of the cardboard to seal the gaps in the corrugated layer and keep the kraft paper layers intact. For now, I layer whole pieces of cardboard on top of one another to ensure sturdiness, but in the near future, I’d like to back my cardboard pieces onto wood. While I do like an aged look to my cardboard pieces, with imperfect paint application and weathered edges, I try to control that from happening too rapidly to the whole artwork.

Old Clothing
To create the quilts and wall hangings I often make, I like to use old clothing from my own closet, that of my family’s, or from the thrift store. Luckily, textiles can be washed and repaired with relative ease, currently and over time. However, there is the tricky task of using delicate fabrics that were not meant for heavy quilts or art pieces that drape on a wall or object. To brace delicate fabrics, I use backing squares of muslin or cotton which can be time consuming to cut and place, but well worth it. I also have the option of placing adhesive patch squares on the back of certain fabrics to stabilize and sturdy it.

Paint
The paints I use are economical acrylic paints from the craft store costing about one dollar. It is very dry and will most likely crackle or flake over time. Some of it is so dry, it crusts over or forms a gooey glob in the container even if properly closed! For now, sealers and varnishes do the trick, but I do need to move into higher quality acrylic paints. I have sourced natural minerals and the supplies to make my own paints in neutral colors which I hope to get around to in the near future. I also use water colors and they are quite delicate with the tendency to mold (on the page or in the container) if not properly dried and stored. Sunlight is usually needed in the right dosage to ensure this does not happen and I also apply a spray varnish on finished pieces.

Glues and Adhesives
This section was written and published almost ten years ago and has been edited: As I continue experimenting with collage, my research has taken me towards the logistics of the medium. Adhesive in collage is crucial for the obvious reason that it merges found images to the foundation. My foundation is typically paper, cardboard, and wood. In a way, I am painting with glue. 

The way the adhesive ages over time depends on the quality of its components and how they react to the environment and other materials. Will the adhesive turn yellow over time? Will that in turn effect the color of the found images? Will the adhesive effect the stability of the images or the foundation? 

I looked to archival quality adhesives from Gaylord to upgrade after my Elmer's glue stick ran out (sadly, I still use cheap glues for budget reasons from time to time). With many options to choose from I decided to learn more about Jade 403 Polyvinyl Adhesive. Below is an article discussing how the adhesive reacts to other materials as well as the micro-environment of the storage enclosure. This is something to consider because when my collage is not on view, soaking up damaging sunlight and artificial light, it is tucked away in storage. 

U.S. National Library of Medicine                                                                                                      
Circulating Now January 17, 2014                                                                                                     
'Protecting the Past: A Study of Acetic Acid Offgassing' by Laura McNulty and Kristi Davenport

https://circulatingnow.nlm.nih.gov/2014/01/17/protecting-the-past-a-study-of-acetic-acid-offgassing/

Thank you for reading and learning with me. Have a Pleasant Day! -Rae