Isabelle Waters Email & Phone Number

Sydney, New South Wales, Australia

I am engaged in a contract capacity by the Grimwade Centre for Cultural Materials Conservation, School of Historical and Philosophical Studies, University of Melbourne, to assist with Teaching - Marking of the Conservation Thesis, core subject of the Master of Cultural Materials Conservation.

Australia

Member of the Editorial Board for the AICCM Bulletin, published by Taylor and Francis. https://www.tandfonline.com/journals/ybac20

Sydney, New South Wales, Australia

I am responsible for the development, implementation and delivery of interdisciplinary conservation projects for public and private clients, across the objects, outdoor and built heritage division. My responsibilities include the development of conservation methodologies, coordination and undertaking of the technical aspects of conservation, client liaison, team leadership, budget management and report writing. My conservation treatment experience has ranged from treatments of organic and contemporary Aboriginal objects, ferrous and non-ferrous heritage objects, contemporary composite sculptures, stone and wall paintings. Current projects I am leading include:- Paint analysis assessment of 1930s arc located at White City tennis complex;- Overseeing the methodology and conservation cleaning of the two turret clocks at the Queen Victoria Building; - Coordinating the treatment of several large sculptures from the Queen Victoria Museum and Art Gallery (QVMAG), - Overseeing the repair of a collection of archaeological ceramics associated with the development of the Sirius building; - Undertaking a structural treatment of a large contemporary bark painting by Nongirrnga Marawili and advising on the construction of an appropriate hanging method;- Conservation assessment of the Waverley Council public art collection held in Bondi Beach including mosaics and outdoor functional heritage with treatment and maintenance recommendations;- Site visit to the Paupua New Guinea National Musuem and Art Gallery (NMAG) where I worked with local conservators and collection care staff to assess the modern history and art collection and develop a treatment methodology to prepare the works for exhibition at the new gallery commemorating PNG’s role in the Second World War;- Coordination of the MAAS Science Collection Digitisation project, including providing the subcontracting of digitisation staff and leading team of objects conservators to work with in-house staff.

Sydney, New South Wales, Australia

Project role where I led small team of Objects Conservators to coordinate and deliver a significant 12-month conservation project for the First Nations (ATSI) collection at the Australian Museum (AM). Based at the AM, I worked directly with their Collections and Conservation Care staff in relation to decision making and quality control in regards to treatment decision making and to ensure the work was completed to the appropriate standard to:*Ensure the appropriate level of treatment of 17,000 Australian Aboriginal objects;*Oversee the safe and ethical work practices and object handling of a team of conservators;*Undertake work in a way that fully respects the protocols established by the Australian Museum in the care and handling of First Nations cultural material;*Ensure the delivery, documentation, reporting and management of the project is undertaken in a efficient, accurate and safe manner; *Being proactive and flexible in managing project milestones and optimising outcomes in collaboration with the Project Working Group to achieve project deadlines, including operating at a high level of stakeholder engagement, collaboration and reporting.

Canberra, Australian Capital Territory, Australia

Contract position in the Objects and Paintings laboratory working as part of an interdisciplinary team in a busy, dynamic museum environment, to deliver the exhibitions and collections care and maintenance program at the National Museum of Australia, including acting as the coordinator for the conservation program for the permanent galleries. Major responsibilities included:* Preventive conservation programs, including development and implementation of risk management measures, and provision of advice and guidance on environmental, storage and rehousing requirements, including assessment advice on objects that require micro-fade testing; * Conservation treatments of diverse collections (organic and inorganic objects and paintings on canvas);* Condition assessments and reporting of the National Historic Collection (NHC) across multidisciplinary collection areas;* Exhibition preparation, including contributing to exhibition installs and demounts, and mount assessment and mount making and preparatory conservation treatments, including stretching, rolling, consolidation; * Represented the Conservation department in coordinator capacity on major national international exhibitions, to interdisciplinary teams at an institutional level, especially communicating the conservation requirements of collections to diverse groups.

Alice Springs, Northern Territory, Australia

I provided consultancy services in the Northern Territory, where I lived and worked for 8 years. My work in this context spanned collection areas, and I used participatory and generative practices to build ongoing partnerships and impact for people, collections and communities - highlights:*Project management and painting conservation applied treatment of an NTG Heritage listed mural (synthetic polymer/Masonite panels) in Alice Springs, (NTG Department of Heritage, 2021); *Co-designed, developed and delivered a preventive photography conservation workshop for the GLAM sector and general public, in partnership with MAGNT, (Australian Museums and Galleries Association, Northern Territory, 2019); *Assessed and prepared report of a natural ochre and synthetic binder easel painting prior to acquisition (Art Gallery of Western Australia, 2019); *Contracted to undergo de/installation, examination and condition reporting of significant collection (synthetic-polymer and ochres on boards) (Museum and Art Gallery of the Northern Territory, 2019); *Co-developed and implemented and carried out a disaster response conservation strategy for a nationally significant language archive held in Papunya, and prepared report (NTG Department of Education, 2019);*Oversaw a conservation strategy for NTG heritage-listed William Ricketts (earthenware/mixed media) sculptures held at Pitchi Richi Sanctuary, and wrote comprehensive report and treatment proposal (NTG Department of Heritage, 2018);*Develop a conservation strategy for a collection of significant ethnographic photographs (gelatine print) held at the Strehlow Research Centre, (Museum and Art Gallery of the Northern Territory, 2015);*Studio production facilitation and assistance to remote Aboriginal artists in Yuendumu, including art development and conservation support, and minor treatment of acrylic/synthetic polymer paintings and works on paper (prints) (Warlukulangu Aboriginal Artists, May-August 2013);

Adelaide, South Australia, Australia

Contracted for 12 months to provide conservation services for the South Australian Museum Australian Store Project, on the rehousing of a collection of 30,000 Australian Aboriginal objects/artefacts. The scope of my role and accountabilities, included:*Contributing to the preventive conservation of diverse objects collections, including organic, inorganic and Aboriginal and Torres Strait Islander and Pacific Islander cultural material, such as condition checking, rehousing, storage improvement for the collection held in the SA Museum Australian Store;*Applying appropriate objects conservation techniques, including assessment, advice, research and treatment, including documentation and evaluation of processes, within the established national and international standards and Codes of Ethics;*Working in an interdisciplinary team across the SA Museum Australian Store upgrade project to contribute to the realisation of the SA Museum’s vision, mission and strategic direction.

Alice Springs, Northern Territory, Australia

The Tangentyere Council Research Hub is a social enterprise established to recognise the importance of Aboriginal knowledge and expertise in the process of social research in Aboriginal communities, to ensure that Aboriginal people are involved with all aspects of the research process so that work considers and interprets information from an Aboriginal perspective. As Research Coordinator I was responsible for the development, implementation and operation of social research projects in collaboration with key internal and external stakeholders, including the engagement of funding bodies and partners to ensure that the Hub could operate as a sustainable social enterprise. Key outcomes:*Project managed the Ayeye Town Camp social history digital archive using the Keeping Culture software, including development of collection access policy using local governance frameworks;*Coordinated applied social research projects and program evaluations, using participatory and generative research methods, or as fee for service consultancy;*Coordinated the business and operations of the Research Hub, including seeking funding, management of grants, project contracts, fee for service consultancies, budgets and staff support and development;*Supported Social Policy and Research Manager with social policy development, including collection and management of data, interpretation and synthesis of findings and preparation of policy submissions;*Initiated, developed and oversaw innovative professional development initiatives for language-speaking Aboriginal researchers to build sector capacity, including the development of a Certificate II in Research Methods and masterclasses research methods in partnership with associated tertiary institutions; *Represented Tangentyere Council to external stakeholders, including government agencies, research institutes and other First Nations organisations both locally and nationally.

Hermannsburg, Northern Territory, Australia

The Hermannsburg Potters is an incorporated Aboriginal/artist-owned art centre, that aims to sustain the artwork and cultural heritage of its members. As Art Centre Manager I was responsible for overseeing all business and operations of the studio, gallery and social enterprise, reporting to the Board of Directors, including:*Oversaw artistic design, studio production, exhibition development and curation, commissions (public and private) and marketing; and managed the art centre collection and social history archive, including working closely with artists to research art development, oversee studio production and the marketing of exhibitions;*Managed all aspects of the Art Centre finances and business, operations and funds procurement, staff and contractor management, including seeking funding, management of budgets; sales; infrastructure; artist estates and copyright; staff recruitment, training and support;*Worked alongside Aboriginal people in governance and operations, reporting to an Aboriginal Board of Directors, including development of 3-year strategic business plan, artist career management; industry partners and provisions of nuanced social support to artists and families in complex, remote, intercultural setting.

Master Of Cultural Materials Conservation

Bachelor Of Arts