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Part 3 of our Exclusive Interview with Renowned Conservator & Restorer Venizelos G. Gavrilakis

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VENIS STUDIOS is a company that specializes in the conservation and restoration of historic artworks and antiquities, combining the scientific and artistic aspects of conservation and restoration. It undertakes conservation and restoration projects of all fixed and portable works of art such as paintings, icon panels, artworks, antiques, historical monuments, etc., in Greece, Turkey, Cyprus, Jordan, United States, and many other nations. Its purpose is to save artifacts and artworks by combining science with art. Recently, The World Art News had the pleasure to interview its President, Venizelos G. Gavrilakis, who shared with us fascinating images, stories, and facts about his unique art career. Here’s Part 4 of that conversation.

Can you describe a time when you had to make a difficult decision during a restoration project? 

When confronted with challenging decisions in conservation and restoration projects, our scientific committee convenes at VENIS STUDIOS. Each member, specialized in their respective fields, collaborates to ensure the most optimal outcome for the artwork.

This particular project involved the conservation and restoration of an 18th-century post-Byzantine wall painting featuring the Virgin Mary. Due to numerous layers of industrial oil paint applied over time, the original face of the Virgin Mary had been completely destroyed and poorly redone. The significant dilemma we faced was determining the appropriate course of action for the missing face. It was unanimously agreed that the depiction of the Virgin Mary would be incomplete without her face. Thus, after several meetings, thorough research, and discussions with our team of specialist scientists and artists, we arrived at a final decision.

During deliberations with the VENIS STUDIOS committee, it was concluded that the area where the face was missing would be recreated exactly as the original painter had intended. Our approach prioritized upholding the artwork’s authenticity, respecting its historical significance, and avoiding any form of forgery. Equipped with extensive knowledge, techniques, and materials, we successfully executed the restoration. A meticulous and discreet approach was adopted to ensure that the new face seamlessly integrated with the original artwork when viewed up close. This careful implementation not only respected the authenticity and history of the piece but also completed the overall depiction. Special techniques, research, and comprehensive documentation were utilized throughout the process.

By prioritizing authenticity and demonstrating utmost respect, we achieved our objective without compromising the integrity of the original artwork.

How do you stay up-to-date with the latest restoration techniques and technologies? 

I constantly engage in comprehensive studies, remaining abreast of the latest advancements in restoration techniques and technologies. This involves attending conferences, actively following scientific conservation and restoration social media platforms, and exchanging expertise with fellow conservators, restorers, and scientists.

While it is not an absolute rule, I hold the personal belief that art conservation and restoration should primarily adhere to traditional techniques and employ traditional materials and recipes that have withstood the test of time. These methods have been refined over centuries and offer the closest connection to the original materials used in the artwork. By adhering to such practices, we ensure a result that is backed by a guarantee of effectiveness.

What advice would you give to someone interested in pursuing a career in art restoration? 

I would recommend that individuals supplement their academic studies by working in a studio alongside a master or professor as an assistant for a few years before embarking on their career without prior experience. As mentioned earlier in the first part of my interview, “understanding” is crucial in this role. Once armed with this understanding, we can then integrate and deliberate on the knowledge acquired to determine what needs to be done and how to approach it.

What is the most rewarding aspect of your work as an art restorer? 

The most fulfilling aspect of being a conservator and restorer lies in the ultimate outcome of one’s work. As I often express, the true “reward” is not measured in monetary compensation, but rather in the impact made and the transformation achieved. We are entrusted with the task of rescuing an artwork, and it is essential to consider what its future “life” will be like once it leaves our hands. Will it be improved? To draw a parallel, it is akin to a patient with cancer seeking treatment from a doctor—what will their quality of life be like after the treatment? Only the conscience of the conservator and restorer can answer such questions. These considerations should be at the forefront of our minds. While financial aspects, such as money and profit, have their place and are certainly welcome, the primary focus must always be on saving the artwork through the highest quality work, regardless of cost.

What is your overall outlook on how the art world is changing? 

In essence, as I have mentioned before, “understanding” holds true for this matter as well. When individuals can grasp and acquire knowledge, true change becomes possible. However, this change must begin within ourselves. We must first strive to change ourselves before expecting external changes in others.

How has COVID impacted your business and what changes, if any, did you have to make? 

The COVID-19 pandemic had a significant impact on my interactions with clients and suppliers, as well as logistical considerations. However, we were able to overcome these challenges through the effective utilization of technology. The changes we made were ones that were necessitated by the circumstances and were adopted by everyone in similar situations.

What types of art do you like to surround yourself with? 

As I have mentioned previously, it is not possible to choose which aspects to favor selectively. For me, art, history, cultural heritage, and similar domains encompass the essence of my life. I encounter their presence everywhere, be it on the streets, within houses, or through interactions with people. I am immersed in art on a daily basis. While this may sound romantic, it truly depends on one’s perspective towards all things. I have chosen this path, embracing and respecting diverse perspectives and viewpoints from individuals across the spectrum.

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Part 1 of our Exclusive Interview with Renowned Conservator & Restorer Venizelos G. Gavrilakis

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From Lagos to New York: New Photography 2023 at the MoMA

From May 28 through September 16, 2023, the Museum of Modern Art presents “New Photography 2023: Kelani Abass, Akinbode Akinbiyi, Yagazie Emezi, Amanda Iheme, Abraham Oghobase, Karl Ohiri, Logo Oluwamuyiwa”.

Source: The Museum of Modern Art (MoMA) · Image: Yagazie Emezi, Untitled, from “#EndSARS Protests,” 2020. Inkjet print. 16 x 20 inches. Courtesy of the artist and Richard Taittinger Gallery, NY. © Yagazie Emezi.

The exhibition explores the photographic work of seven artists, all at various stages in their careers, who are united by their critical use of photographic forms and their ties to the artistic scene in the port city of Lagos (Èkó), Nigeria. This is the latest edition of MoMA’s celebrated New Photography series and will mark its return as a gallery presentation after five years. “New Photography 2023” marks the first time any of these photographers will present their work at MoMA and is the first group exhibition in MoMA’s history to engage the work of living West African photographers. New Photography 2023 is organized by Oluremi C. Onabanjo, Associate Curator, Department of Photography, with the assistance of Kaitlin Booher, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography.

Since the program began in 1985, New Photography has introduced MoMA audiences to work by more than 150 artists from around the world. Launching the next phase of the series, “New Photography 2023” will be the first in a sequence of exhibitions to emerge from specific art scenes across the globe. Following the cues of the featured artists, the show takes Lagos—the largest city in Nigeria and one of the most populous cities on the African continent—as its starting point. The seven international artists featured in the exhibition apply pressure to the idea of “photograph as document” by interrogating varying forms of visual representation. Many of the artists take scenes of everyday life in Lagos as their subject, rendering new visual expressions of the city through formal experimentation and poetic compositions, or by chronicling personal accounts at the heart of political action. Others engage archival photographs to reveal the psychological traumas and possibilities embedded in physical structures, spatial sites, and historical figures.

“In a world where global systems of relation are a given, photographic images occupy a crucial position. No longer is the photograph solely a means of recording our surroundings, it has become a central prism through which lived experience is made and shared,” says Onabanjo. “New Photography 2023 unites the work of seven artists who plumb the depths of the photographic medium, and mine its spatial, social, and historical undercurrents in order to make space for more nuanced forms of perception and encounter.” Collectively, the works and approaches of Abass, Akinbiyi, Emezi, Iheme, Oghobase, Ohiri, and Oluwamuyiwa contribute to a global conversation about the role of photography in societal narratives.

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