 Earlier in the conservation lab we looked at a flat panel before it was punched out of its framework. The museum took three of those panels and break them and form them over a light bulb. The metal flowers and leaves of this are quite flexible still. It's almost like an extremely thick version of tin foil. Rather than flatten out the three works again, we left it in this three-dimensional form forever more and wanted to store it this way. The conservators being sensitive to that are now treating it. Each area is gone over with a little swab. Each area very carefully front and back and we remove the dust or whatever it was on there. Dust, dirt and take that off very carefully. When you're applying pressure from behind, for example, you want to have a nice support on the front. You might have the object leaning on a padded tissue support or you might just have it hanging where you put your hand in front very gently and then you can swab from behind. Similarly, when you're doing the front, you want to make sure that you've got a nice support structure behind it. And that's what was done with cleaning this piece. Some people might call it tedious, but I actually very much enjoy these careful investigations of surfaces and materials and when we're treating something like this, it is a slow process and it does take time. When you've been doing it for a number of years and you're quite skilled, you can build up a certain pace, which is safe for the object, but you can get through efficiently. And it's quite meditative work. It's quite a nice thing to do.