Restoration Case Study

Rafie Rahman: "Untitled (1983)" Restoration

Ref: A291-2026CBA | Tony Ng Conservation Studio

Artist

Rafie Rahman

Date

1983

Medium

Oil on Jute

Dimensions

60 x 75 cm

Location

Benteng Collection

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I. Comparative Evidence

Overall State: Before Treatment

Overall State: After Treatment

Before:
Extensive paint and ground loss exposing the jute support.

After:
Following infilling, retouching, and visual reintegration.

Before:
Lifting and flaking paint with associated losses.

After:
Following consolidation and loss compensation.

II. UV Examination Analysis

Ultraviolet-Induced Visible Fluorescence (UVF):

Inspection under UVA (365nm) revealed no obvious evidence of previous restoration campaigns. The examination primarily highlighted the presence of unidentified surface deposits across the composition, confirming the necessity for targeted aqueous cleaning to reduce the accumulation safely.

III. Condition Summary

The artwork exhibited severe structural instability, primarily characterized by extensive paint and ground loss that exposed the underlying jute support. Localized flaking and lifting paint were prevalent across various coordinates of the composition.

Pathology & Diagnosis: The observed cracking, flaking, and losses within the paint layer are considered highly likely to be associated with the repeated dimensional movement of the jute support. Given the sensitivity of jute to moisture fluctuations, and the high relative humidity typical of the Malaysian tropical climate, cyclic expansion and contraction contributed to severe mechanical stress within the aged, inflexible paint layer.

Additionally, the surface was marred by accumulated dirt, suspected dormant mold activity, and distinct, unidentified surface deposits requiring careful bio-chemical remediation.

IV. Treatment Protocol

PHASE I

Surface Cleaning & Remediation: Mechanical dry cleaning was executed to remove loose dust and particulate matter. Following spot testing, an aqueous system (ATC + Tween 20) was utilized to safely reduce the unidentified surface deposits. Localized acetone application was subsequently employed to address more tenacious residues.

PHASE II

Structural Consolidation: lifting and flaking paint layers were stabilized through selective consolidation. Paraloid B-72 was introduced to secure these unstable areas, restoring cohesion between the paint layer and the jute support while maintaining reversibility.

PHASE III

Isolation & Compensation: A thin isolating layer of Paraloid B-72 was applied across the treated surface. Areas of profound loss were subsequently compensated via infilling and surface levelling to recreate the continuity of the original texture.

PHASE IV

Aesthetic Reintegration: Reversible retouching was carried out using a conservation inpainting medium consisting of Paraloid B-72 mixed with tempera pigments. A sacrificial surface layer of 10% Laropal A81 with 5% microcrystalline wax was applied as final protection.

V. Technical Notes

Cleaning System

Aqueous mixture (ATC + Tween 20); Localized Acetone

Consolidant

Paraloid B-72

Filling Material

Conservation grade filler

Retouch Medium

Paraloid B-72 mixed with tempera pigments

Protective Coating

10% Laropal A81 with 5% microcrystalline wax

VI. Technical Documentation

Fig. 01. Aqueous cleaning spot test.
Preliminary cleaning test conducted to evaluate the response of surface deposits to the selected aqueous cleaning system.

Fig. 02. UV-induced fluorescence examination.
Brown surface deposits exhibited a distinct yellow fluorescence under ultraviolet illumination, assisting in the assessment of their composition and distribution.

Fig. 03. Infrared reflectography examination.
Infrared imaging was undertaken to investigate the presence of underdrawing or preparatory sketching. No evidence of graphite, charcoal, or other underdrawing materials was detected.

Fig. 04. Raking light examination showing lifting paint.
Raking light photography revealing areas of paint lifting and surface deformation associated with instability of the paint layer.

VII. Treatment Process Video

Statement of Conservation Integrity

Authorized Disclosure: This case study is published under strict contractual agreement and with explicit consent. All proprietary details regarding ownership remain redacted to ensure collector privacy. While all care is taken according to international conservation ethics, art conservation involves inherent risks.

Scientific Objective: We aim to demystify art conservation through empirical evidence, proving that restoration is a balance of stabilization and historical preservation rather than mere aesthetic renewal.

Heritage Contribution: This record serves as a public teaching case, aiding in the creation of a technical knowledge base for the preservation of Malaysian Art Heritage. All treatments were performed employing conservation-grade materials selected for stability and future retreatability.

Special Initiative

Transparency Education Initiative

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Education Partner Support: Painting up to 60% / Sculpture 30% Collaboration Rate

Selected restoration projects may choose to participate as Education Partners. In exchange for documenting the process as a public case study (with sensitive details redacted), the studio provides substantial support on professional fees.

Core Purpose

Designed to improve public understanding of conservation ethics and restoration science through real-world documentation.

Support Rates

• Painting Restoration: Up to 60% support on service fees
• Sculpture Restoration: 30% support on service fees for selected cases
• Public Access: Before/after comparisons, technical images, and care advice

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