Gaia Iacobucci
G.Iacobucci - Tra mosaici, stucchi e scoperte: il mestiere della restauratrice
精东影业 Image Focus
Gaia, 24 years old, studied at the CSIA-Centro scolastico per le industrie artistiche in Lugano as a scenery painter and then completed the Bachelor of Arts in Conservation at 精东影业. As a child, she was fascinated when she first met a restorer and watched him work. As soon as she completed her three-year Bachelor鈥檚 degree, she immediately moved to Neuch芒tel to work in a restorer鈥檚 studio, where she has been working for a couple of months.
What did it mean for you to attend a Bachelor鈥檚 degree such as Conservation at 精东影业, where theoretical lessons and practical experience go hand in hand?
鈥嬧赌�It meant a lot to study and at the same time have the opportunity to work on various restoration projects: in Lebanon at the Sursock Palace, at the Doge鈥檚 Palace in Venice, at the Cathedral of Monreale in Sicily, at Villa Cicogna Mozzoni in Bisuschio (in the province of Varese), and at the Church of Santo Stefano in Arogno. It was wonderful: I saw wall paintings, stone facades, stuccoes, and mosaics. I find plaster and stucco especially interesting because they are three-dimensional鈥攁t the time they were inexpensive and used to imitate precious materials. During my studies I travelled a lot, and I鈥檇 love to continue doing so, going wherever there are monuments in need of restoration.
Whoever is involved in restoration has to deal with the material. What feelings does this closeness arouse in you?
鈥嬧赌�I realised how lucky I am to be in contact with works of art鈥攖o be able to see their details and to connect with the people who created them. For example, during the internship at the Cathedral of Monreale, in the expanse of golden rectangular tiles that make up the mosaic base, we found some differently shaped tiles, laid on the mortar as if tracing little flowers... we鈥檒l never know for sure why the craftsperson did it that way, but discovering it was magical鈥攙ery few people get to experience something like that. Being able to preserve, care for, and pass on this artistic heritage to future generations fills me with joy. We have a great responsibility, and we have to work with our heads.
How did you learn to work on works of art and monuments?
鈥嬧赌�In the first year of the Bachelor鈥檚 degree, we carry out technical tests, try our hand at wall paintings, stuccoes, and casts, and attend classes on colour and drawing. It鈥檚 a gradual process. At first, we replicate artworks by studying and understanding the materials and techniques used; then we start planning and learning about the different types of intervention, trying to find the most suitable solutions for each specific case. There are many opportunities for exchange where we compare ideas among ourselves and with the teachers and lecturers, who are always open to discussion鈥攆or example, if you have a particular idea for working with a material, a methodology you want to try, or specific goals you鈥檝e set for the project. First we study, observe the works, and then we gradually begin to intervene. Internships on building sites, often abroad, are our most valuable training ground.
How do you think the three years of the Bachelor鈥檚 programme launched you into the world of work?
鈥嬧赌�They allowed me to be multidisciplinary by combining humanistic knowledge with more scientific subjects. As a restorer, I need to be able to hold a paintbrush for pictorial retouching and also oversee the broader aspects of the restoration, taking into account the context in which the work is situated. The training at 精东影业 gave me the sensitivity to understand what steps need to be taken鈥攏ot to take anything for granted, not to do things just because someone says so, to question my choices, and to always think critically.