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Plastic matters: an analytical procedure to evaluate the degradability of contemporary works of art

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Abstract

The most significant results concerning a chemical study to evaluate the degradability of polymeric components in four contemporary works of art, partially or completely realized in plastics, are presented and discussed in this paper. The procedure applied is mainly based on the use of Fourier transform IR and UV–vis spectroscopies and pyrolysis–gas chromatography/mass spectrometry, and consists of the following steps: (1) compositional analysis of the artworks, with particular attention to components which may have a negative effect on the overall ageing; (2) evaluation of the actual state of conservation; (3) investigation of the accelerated ageing of reference polymer samples; and (4) monitoring of the natural ageing of the artworks. On such a basis, the following could be concluded. Stage Evidence by Loris Cecchini is made of poly(ether urethane) elastomer which contains a high amount of phthalates. Their exudation gives a sticky appearance to the artwork and their removal during ageing is the main cause of the loss of flexibility. The latex used by Andrés Pinal for tailoring Traxe de Home is a natural polyisoprene, whose oxidative degradation accounts for the extensive deterioration and yellowing of the artwork. The plaster sculptures of 3D Bodyscans 1:9 by Karin Sander are coated with an aliphatic epoxy resin. Its oxidation with formation of amides is the cause of the surface yellowing. The adhesive used by Dario Villalba for Tierra, Ladrillo y Agua is a commercial poly(vinyl acetate). Simulated photoageing suggests a fast deterioration due to deacetylation and cross-linking, which possibly is the main reason for the actual detachment of debris from the support.

Investigated artworks from the Contemporary Art Museum of Santiago de Compostela (Spain), partially or completely realized in plastics

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Acknowledgements

M.L. and A.L.S acknowledge Xunta de Galicia (Rede Galega de Protección do Patrimonio) and the financial support by the Ministerio de Educación (FPU fellowship), respectively. Finally, we also thank Miguel Von Haffe (CGAC director) for his support, and Patricia Sanmartín Sanchez, Tania Pérez and Roi Meizoso Loreiro, who carried out their degree research on this subject.

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Authors and Affiliations

  1. Department of Physical Chemistry, Faculty of Chemistry, and Centre for Research in Biological Chemistry and Molecular Materials (CIQUS), University of Santiago de Compostela, 15782, Santiago de Compostela, Spain

    Massimo Lazzari, Ana Ledo-Suárez & M. Arturo López-Quintela

  2. Centro Galego de Arte Contemporánea (CGAC), 15703, Santiago de Compostela, Spain

    Thaïs López

  3. Department of Inorganic, Physical and Materials Chemistry, and NIS Centre of Excellence, University of Turin, 10125, Turin, Italy

    Dominique Scalarone

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  1. Massimo Lazzari
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  2. Ana Ledo-Suárez
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  3. Thaïs López
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  4. Dominique Scalarone
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  5. M. Arturo López-Quintela
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Correspondence to Massimo Lazzari.

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Published in the special issue Analytical Chemistry for Cultural Heritage with Guest Editors Rocco Mazzeo, Silvia Prati, and Aldo Roda.

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Lazzari, M., Ledo-Suárez, A., López, T. et al. Plastic matters: an analytical procedure to evaluate the degradability of contemporary works of art. Anal Bioanal Chem 399, 2939–2948 (2011). https://doi.org/10.1007/s00216-011-4664-5

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  • DOI: https://doi.org/10.1007/s00216-011-4664-5

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