RESTORATION AND CONSERVATION IN CONCRETE SCULPTURE
ABSTRACT
This thesis seeks to explore the restoration and conservation in concrete sculpture especially as concrete is one of the oldest of the sculptural medium that has been in use in our contemporary society. Overtime, concrete sculpture has been left unattended to by the non-application of preservatives thereby exposing it to the effect of strong winds, extreme humidity and abrupt temperature changes leading to structural wear; and in most cases these bring about failure of the sculpture. The consequences of failed sculpture include the erosion of our cultural heritage, which leads to the loss of sculpture that are of historic and academic interest. In addition, sculpture failure is becoming more rampant and if not addressed may in no small way deter robust research into who we are and our productive artistic past. Based on this, objectives were set to address the problem. The methodology employed is that of survey and studio experimentation whereby failed concrete sculpture within the sculpture garden of the department of Fine and Industrial Arts of the University of Uyo were discussed. This research found out that there is a high negligence of sculpture as an essential feature of aesthetics in our built environment. These findings will be beneficial by encouraging the society to restore and conserve its neglected sculpture for posterity sake – as failure of sculpture is failure of the society, and inadvertently failure of the sculptor(s) involved. The study recommends that ab initio, adequate provision of sculptural materials be made to include what is essential for its sustenance and preservation. In addition, restoration and conservation ethics and code be incorporated as it is obtained in other climes.
CHAPTER ONE
INTRODUCTION
1.1 Background to the Study:
It was only about 40,000 years before the birth of Christ, particularly where the continent of Europe was concerned, that there was a turning point which marked a distinction from preceding ages. Man began to create forms that reproduced the reality in which he lived and expressed the dark anguish and all pervading dread that dominated his existence. Prehistoric art was born. Its manifestation were many and may be grouped into sculptural and pictorial art forms (Canady, 1945). Beginning from the Neolithic period, African sculpture has steadily been progressing from its traditional origin to modern creative expressions (Fosu 1986). These new expressions are derived from a tradition whose documented origin can be traced to the