Christine Haynes
Abstract
Reducing the appearance of scratches on a pristine surface is always a challenge, especially when dealing with soft and solvent-sensitive substrates such as poly(methyl methacrylate) (PMMA). This article will detail the materials and methods the author determined useful for creating the best final surface finish during the treatment of Judy Chicago’s Three Clear Domes on a Red Base. The artwork’s red, mirror-backed PMMA sheet was severely scratched and abraded by a museum visitor while it was on loan to a temporary exhibition. After contact with the artist’s studio and the original fabricator, treatment considerations included replacing the sheet, filling the scratches, and polishing out the scratches. Due to the custom red color of the substrate and the high number of overall scratches and abrasions, overall polishing was determined to be the best option. While conservators have used commercial polishing compounds to successfully treat clear PMMA, colored PMMA often appears cloudy when polished. This is likely due to the viewer being better able to perceive minor scratches on a colored surface that they are looking at rather than a clear substrate they are looking through. In order to create the finest and most even polishing marks, different grits of common polishes, various types of cloths, and different methods of application were all tested. Clay-based polishes that continue to break down into smaller particles and low-powered buffing wheels with microfiber heads were determined to be the most useful to achieve the desired finish.