neljapäev, märts 12, 2009

Tekstiilide hingehoid II. Preservation of the soul of textiles part II

Algus siin. The first oart of the story is here.
Kolmapäev, 11. märts. Pliiats. Harilik. Minul oli. Minul oli MEELES. Teistel oli pastakas. Muus osas mul millegagi hiilata polegi. Mul ei ole perekonna reliikviaid ega sellise legendiga asju, mis kellegile korda läheks. Vaesed asjad, neil polegi kedagi peale minu... nii, ja kohe hakkab neist asjadest veel rohkem kahju.
Wednesday, march 11. A pencil. I had one. I remembered. Others had a pen or a marker. In all other matters, unfortunately, I have nothing to boast about. I have no exquisite family treasures or Things that have an unusual legend. The poor things I have don´t mean much to anybody but me. I am all they have...
Ma saan aru küll, et peaksin iga linikut hoidma eraldi kangarulli peal ja mitte voltima, või tegelema päev läbi nende lahtivõtmise ja ümbervoltimisega. Ma saan aru, et pean toas hoidma sobivat temperatuuri, et pean pühendama umbes 100 tundi iga asja kordategemisele ja aukude parandamisele tugevduspistetega, et peaks panema õrnadele asjadele taha gaasiriide ja otsima mööda Eestit ja maailma parandamiseks sobivaid samast ajajärgust riidetükikesi. Ma saan aru, et pakkida tuleb happevabasse paberisse / karpi ja rullida kokku parem pool ülespidi. Oletame et ma teen seda.
I DO understand I should keep every textile rolled up on a cardboard roll, not fold them to avoid weakening the fabric from the folding lines. I can understand how dedicating 100 hours to repairing and cleaning each artefact makes their future preservation less troublesome and lenghtenes their life expectancy. I already know about the thin silk fabrics I should fasten the especially tender objects onto with careful support stitches. And I know I have to use acid-free paper and boxes to keep the artefacts in. Let´s suppose I do that.
But.
Aga: voodikastis on juba voodiriiete asemel raamatud. Riidekapis pole enam riideid, vaid lõngad ja vill. Riiul on täis igausgu materjale ja näidiseid, kapi otsas on isiklikud tööd ja pesukapis on kunstitarbed. Voodi taga on veel villa, paberid, virn seepi ja rull mullikilet. Et siis....kuhu ma panen need asjad ( ja ärge öelge et seinale, nendesse seintesse tuleb igasugu konksude jaoks augud puurida väga kõva drelliga...

I already have books inside my sofa instead of bed clothes. I have wool and yarn in my closet instead of clothes ( I only have 3 sets of changing clothes right now!!!) On top of the cupboard I have paintings, drawings and textiles from 1991 to present. Behind the bed I have more wool, a pile of soap and a roll of bubble wrap. Like....where do I put those things if not folded up in the cupboard? Please dont tell me I have to drill 100 holes into a brick wall as hard as diamond and place the textile rolls on hooks....?
ega ma kaeba. Lihtsalt tõesti on raske mõelda, kuidas hoida oma kollektsiooni esemeid nii, nagu ma tean, et nad väärivad.
I won´t complain. I will put as many things in order as I can, keep as many in the cupboard as it fits and keep the rest in their present state for now. Let´s see what I can manage in the future. perhaps I will take the weaving looms apart and make the weaving room into a home crafts museum....
Niikaua kuni ma mõtlen, jagan veel kübemeid oma konspektist. Niisiis parandamine ja hoidmine. Üks hea reegel, mis kursusel välja öeldi, oli see, et kõiki parandusi peab saama tagasi võtta, taastada olukord, milles ese oli enne seda, kui me teda parandama hakkasime.
Teiseks kõlasid mõned huvitavad nimetused: gaasriie (õhuke siidkangas, mida vene ajal ja tollaste põhimõtete järgi pritsiti liimiga, et seda tugikangana eseme taha kinnitada, tänapäeva konserveerimissuund seda ei luba (igasugune liim võib eset kahjustada, liimide keemia söövitab kiudu.) Siis euromarli - teatavat tüüpi marli, mida pidavat leiduma Eesti Tekstiili poes. Seda saab siis nt. puuvillkangaste parandamiseks kasutada. Filterpaber ja siidpaber, mida pidavat tellitama muuseumidesse firmast Maksing.
To give myself time to think about it, I´ll just post the notes from that last class. Repairing and preserving. A golden rule in repairing old things is that one should be able to sort of "take back" everything they do. All the stitches, patches, support fabric, nets etc should be removable if it is necessary. No glue, now sewing machine, nothing too permanent. Some interesting materials were named: gas fabric ( an especially thin silk, that was common material for scarves in the 1960ies, in russian school of conservation it is still sprayd with glue to fasten it more conveniently. Western tradition won´t allow it, because any kind of glue contains chemical components, that may damage the artefact. Filter paper or chemical-free wrapping paper. In Estonia the company that imports it is Maksing. Eurogauze fabric - a different type than what we are used to. Good for supporting cotton artefacts that have a threat to fall apart.
Eseme aukusid parandatakse võimalusel esemest endast saadud kangatükikeste / kiududega, võibolla õnnestub kusagilt leida sarnast ja samast ajajärgust, sama elueaga materjali ( sest nad käituvad siis ka edaspidi sarnaselt). Paikamisel kindlustatakse ka augu /paiga ümber jääv kulunud ja õhenenud materjal tugipistetega, et paiga serva omakorda auku ei tekiks. Kui esemel on nööpe või metalldetaile, tuleb need enne eseme enda pakkimist eraldi siidpaberiga üle mässida, sest rooste on üks hullemaid augutekitajaid. Nööpide alla saab panna paberi, mis eraldab need kangast. mahulisi esemeid nt pluuse, tanusid, tuleks ka pakkida mahuliselt, petada hoidukarpi polstreid. rulli keerates tahab ka toru, mille ümber keerata, enne paberit või riiet ümber, kui ese on juba selle peale keritud, tuleb toru keerata veel vanasse voodilinasse või panna linasesse kotti. Pakkimispaberied esemete ümber ei jäeta igavesti, vaid neid vahetatakse siis, kui nad on värvi muutnud ( nt kollaseks tõmbunud). Karpidesse võib poetada silikageeli pakikesi sest niiskust ei tohi ese hoidmisel saada.
If it is at all possible, one should repair the holes in the artefact with material taken from the extra edges or from the edges of the hole, or find material that is from the same time period. Then the material you use for repairing will change in time in a similar way to the artefact itself. You shouldnt just patch holes, but support the fabric around the hole with stitches, cause otherwise you´ll soon be facing new holes on the deges of the patch.
When you are dealing with repairing colorful embroideries, you choose a darker color that you can see, cause singular thread look lighter. If the colors are faded, you can see the true color of the yarn or thread from that tiny part that is inside the fabric or, if only one side has faced the light, then from the stitches on the back side. If the artefact has buttons, you should wrap the buttons in filter paper separately to avoid the rust from corroding holes into the textile. Three dimensional objects should also be packages three-dimensionally, adding paddings inside the box where you keep them. wrapping paper will not last permanently, it may change color, in which case you whould change it.
KUi eset ikkagi on vaja voltida, siis lõimepidi ehk eseme valmimise suunas. Suured asjad tuleblihtsalt ise rulli keerata. Kui voltida ese täitsa kokku, tuleb teda mõnikord voltida hoopis teistmoodi, et voldikohad ei hakkakss läbi kuluma. Me nägime loengul ka üht rätikut, mis teiste esemete raskuse all voldituna seistes oli murdekohtadest lagunenud. Nojah, mul muidugi on kohe süümekad, mina ju teisiti ei hoiagi oma asju. Ent ma võtan neid ka alatasa lahti ja pakin sahtlid ümber. Väga lootusetu ma ka pole.
If there is no way to roll the textiles on a stick or cardboard roll and you have to fold it, you should take it out and occasionally fold it in a completely different way. We did see a cloth in the class this time that had completely broken apart right at the folding lines. Well...like I dont feel guilty or worry enough already. But, but! I do take them out and fold them differently every now and then! I do!
Saame veel teada, et vanamoodsad puukirstud, mida peidmied pruutidele tegid, on ühed parimate tingimustega hoiukohad: jahe, õhutatud, valgus ei pääse sisse, kemikaalivaba ja kerge tolmust puhas hoida.
We also learned that the old fashioned wooden chests probably were the best places to keep textiles. First of all, they had air holes in them. They were all natural. They kept the light away, they were cool and they were easy to clean.
Mul oli seekord päris palju asju oma kummutist kaasas. Olin arvanud, et neil pole suurt midagi viga ning nad ei vajagi erilist korrastamist. Ent nagu kiuste tulid neid just seal klassis vaadates välja plekid, laigud, kulunud kohad ja augud, mida ma kodus pole märganudki. Masendav... võta nüüd kätte ja hakka lappima. Oleks aega siis teeks ( kas keegi on nõus minu eest kõik muud tööd ära tegema, ah?)
This time I too had a lot of stuff with me. It had appeared to me at home there was nothing much wrong with my pieces. But in the class....a hole there, a weakened spot of fabric there, rust, stains, darkened fibers, I just hadnt really paid attention carefully enough. Depressing... Now go and wash and patch and stitch´em, you Lazy Lizzie. If there was someone doing the rest of the work I need to do for me, I wouldnt mind dedicating myself to taking care of my collection. But unlike some, I have no one to leave any tasks to.
Ära korja siis nii palju, ütlevad nad mulle. Mul ju polegi palju, 15 aasta kohta. Peaks tegema koduse käsitöömuuseumi ja võtma mõned töötud asju hooldama. Ega keegi ise küll appi ei tule, tuleb lihtsalt peale hakata. Kui elu võimaldab.
Well, they say, don´t collect so much stuff. But if I don´t, what then? Into the garbage? For the whole 15 years I have randomly kept and collected a bit of this and that, it is not really that much. 4 to 5 hundred pieces perhaps. I´ll think about it first. And then maybe.... a home museum wouldnt be such a crazy idea, would it?

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