16 C O N T E X T 1 3 6 : S E P T E M B E R 2 0 1 4 views and the fact that, when looked at closely, the tubular-riveted construction freshly painted in ‘India red’ could easily be regarded as art, particularly with the sun touching the surfaces and highlighting the shadows of the various patterns of rivet heads. Now almost 125 years old, with only minor strengthening in the 1990s and a paint system completed that will last at least 20 years, it is the first time that Network Rail has been able to consider a fully-fledged visitor centre with lift access, allowing the public to enjoy the experience we had, and possibly a bridge walk along the top of the cantilever arms from the south side. See the consultation at www.forthbridgeexperience.com. David Blackburn Conservation and craft studios The conservation and craft studios tour, led by Stuart Eydmann, involved visiting a premier conservation studio – the Graciela Ainsworth Sculpture, Conservation and Restoration Company and a new arts complex – the Bill Scott Sculpture Centre. Eydmann began with an erudite commentary on the development of artistic skills centred on Leith, on the periphery of Edinburgh. Graciela Ainsworth, a dynamic and highly motivated individual, outlined her meteoric career from sculptor in Newcastle with a passion for the local sandstone, to developing a more extensive palette of skills through a conservation course at the London Art School. Difficult decisions on whether to continue in sculpture or museum conservation, or to join an existing artist’s colony in Leith, were decided by the availability of the building. It has retained the original Belfast trusses but now has a modern shell. The building provides a fitting space for an exciting array of conservation activities and training, including conservation of things ranging from Pictish stones (one of which remained under wraps, being a recent discovery) to the facade of Sir Walter Scott’s house, and tiny objects such as an ancient metal spur. Interesting details emerged such as the Picts choosing stones for their colour. Evidence that they had used bronze chisels with wooden mallets was deduced by careful examination of the tooling, which indicated how detailed large-artefact conservation has to be. We discussed grades of steel for armatures, cleaning techniques (non-acidic paper and de-ionised water to act as poultices) and consolidants such as ethyl silicate, and the perennial issue of ethics. Analysis of pigments (using EDX) for a Mackintosh room provoked discussion on colour schemes. So did methods of dating the various components of a mother-of-pearl cross on a metal and ebony cross base. Examination of infilling pyrite flaws in marble with wax indicated the need for close examination of surface finish. Solutions to one’s own stone-carving difficulties producing a 3d effect were provided by demonstrating a pointing device to assess the depth of carving needed, using a clay machete to gauge depth of each drill hole. The next stop was the Bill Scott Edinburgh Sculpture Workshop (architects Sutherland and Hussey), a recipient of the Arts Funding Prize. Opened in 2012, it was founded in 1987, occupying a brick railway shed on the adjacent plot. A demonstration by an artist in one of the studios (entitled ‘sculpture of movement and magic’) left some delegates somewhat bemused by its esoteric nature. This contrasted with a colourful exhibition, the result Graciela Ainsworth shows delegates some of her studio’s current conservation work (Photo: Jonathan Taylor)
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