ARTLAB

The Hon. CARMEL ZOLLO (15:52): Early last month I had the pleasure of representing the Premier, the Hon. Mike Rann MP, at the opening night of the FIVE exhibition, Artlab Australia's annual SALA Festival 2011 art exhibition held at the Artlab Centre as part of the South Australian Living Artists Festival. Today I would like to take the opportunity to speak on the work of Artlab in the conservation of fine art and historic material.

Artlab, as I am certain honourable members would be aware, is a division of Arts SA and part of the Department of the Premier and Cabinet. Its core business is caring for South Australia's diverse cultural collections. These collections are a vital part of our state's memory and the heritage that our generation will pass on to future South Australians. Currently these collections include those of the South Australian Museum, the Art Gallery of South Australia, History SA (Migration, Maritime and National Motor Museums), the State Library of South Australia, and Carrick Hill historic house.

The restoration works include specialising in fields such as paintings, Indigenous, ethnographic and natural history objects, metals, wood, glass and ceramics, industrial/technological objects, outdoor sculptures, paper, photographs, books and textiles. One of the most significant restoration projects that Artlab has undertaken to date has been the restoration of the Eureka flag. Artlab has been entrusted with ensuring that the Eureka flag can be appreciated by future generations. I am told that this involved over 300 hours of painstaking sewing with curved needles and thread so fine it is almost impossible to see with the naked eye. The flag has been reinstated to its original dimensions and supported on a new lightweight panel of aluminium honeycomb.

Mr Andrew Durham, the Director of Artlab Australia, has provided me with a snapshot of some current activities which give an insight to the range of conservation work undertaken to care for our collections. In the objects studio conservators are preparing ethnographic items from the SA Museum for storage and restoring the damage on a 16^th century Spanish carving of St John the Baptist from the Art Gallery. In the paper and books studio, old master drawing mezzotint prints are being washed and having their acidic backings removed to be replaced with acid-free materials which will improve their longevity.

In the textile studio the conservators are repairing tears in batik wall hangings for Asian collections of the Art Gallery, and in the painting studio another colleague is removing darkened varnish from George Watt's masterpiece, Love and Death, which belongs to the Art Gallery of South Australia. Given its expertise, Mr Durham also pointed out that in addition to its role in caring for the state's collections, Artlab is also a business enterprise. It provides conservation and preservation services to governments, corporate and private clients on a fee-for-service basis. This represents approximately 40 per cent of Artlab's work. Members will not be surprised to hear that our parliamentary library is also one of its clients. I was interested to read that at the international level clients include the National Museum of Malaysia, the National Archives of Singapore, and the Dalongdong Baoan Temple in Taiwan.

Mr Durham also mentioned that what makes Artlab unique and distinct from other conservation institutions in other Australian capitals is that it gives advice and carries out practical treatments on the personal treasures of anyone who cares to bring them for advice. It may be a family heirloom, an irreplaceable souvenir or a family Bible. Consultation days are held every fortnight, and members of the public receive the same expert advice and benefit from the same expert skills that are used to preserve the state's and nation's treasures. The list of other major clients is most impressive: from the National Museum of Australia, and other state's galleries and museums, to Parliament House in Canberra.

To preserve these precious historical items from the ravages of time takes a great deal of skill and dedication. Time and again this skill has been displayed by the dedicated technicians at Artlab who have, since its inception in 1985, and through a blend of science and artistic talent, preserved these often priceless items for the enjoyment of future generations of Australians. Our qualified conservators care for our rich and diverse collections in both our state and beyond. Indeed, they are respected worldwide, and on behalf of all members I acknowledge such talent, commitment and excellence.