Vivien Barnett

One of my greatest joys in life is shopping for yarn. The endless yards of multi-colored fibers represent the endless possibilities of new projects I could make: hats, scarves, blankets, gifts, even things I may never use, because for me, the act of crocheting has always been better than the finished product. The feeling of the threads wrapping around my fingers, the motion of my wrist completing stitch after stitch, the movement now ingrained in my muscle memory from years of this meditative practice, all contributed to one idea in my mind; I know that I want to work with textiles. After all, everyone always says, “Do what you love and you never work a day in your life,” so why shouldn’t I combine my favorite hobby with my career?

​

My interest in art conservation did not emerge until later in my life, when I was choosing a major after being accepted into the University of Delaware. I had always liked art, and I enjoyed chemistry, so I thought this area of study would be a perfect match for me. However, I soon learned that art conservation is so much more than getting to touch famous art; it is understanding a series of codes of ethics, a knowledge of art history and chemistry, taking into account artists’ intent, and preserving cultural heritage for the good of the public. I truly believe that art conservators make the world a better place by preserving the past for the benefit of the future, and I want to be a part of that mission.

​

It is not just the noble cause of art conservation that attracts me to the field; it is also the problem-solving that is required to treat each object that comes through the lab. Every painting, textile, and object is unique, and there is no one way to treat them. Each artifact is like a puzzle waiting to be solved: the conservator must take into account the materials of which it is composed, the history of the object itself, the artist’s intent, past treatments, the types of damage, the amount of time that can be spent on treatment, and so much more. The collaborative nature of the field is another area of intrigue for me. Conservation is a multifaceted field comprised of trained conservators, historians, scientists, and more, and it requires collaboration with other museum staff and departments, as well as a global sharing of knowledge with other museums. This dedication towards the preservation of a global heritage through working with other people and organizations across the world inspires me to action.

​

​

​

​