Carola graduated from the internationally renowned West Dean College of Arts and Conservation in 2020, with a Post Graduate Diploma in Conservation of Metals. Her first degree was from Wolverhampton University in 3D Glass Design and Craftsmanship, which included glass casting, glass blowing and stained glass.
After her first degree Carola applied her skills to an apprenticeship in Theatrical Prop Making at Glyndebourne Opera House, going forward to develop a career as a prop maker and scenery builder until 2019. Employers included English National Opera, The Royal Opera House, Selfridges, Liberty, Harrods and Glastonbury Festival. As a senior project manager for retail props her clients included many well known high street brands.
Eventually she quit clients, budgets and ridiculous deadlines, to create her own work, and follow a couple of little dreams. One of these was to work with historical objects, and metals in particular.
Carola graduated from West Dean in 2020. You can see some of the projects she worked on in the Blog. Prior to her studies, Carola volunteered at a number of heritage institutions:
Brighton Old Police Cells Museum – A wonderful collection of historical objects, images and antique technology housed in the original police cells under Brighton Town Hall. This museum tells the story of the emergence of Brighton’s police force and it’s relationship to criminology and the social history of Brighton. Carola joined the team during the museum accreditation process and during this time she helped with accession organisation, environmental monitoring and display design.
The Regency Town House – A hub for the Regency history of Brighton and a grade 1 listed property built in the 1820’s. Carola joined the interior restoration team for this exciting project, working alongside heritage professionals and talented amateur enthusiasts to restore the interior to it’s original finery. Here, Carola learned about paint analysis, plaster moulding and learned and applied wood graining techniques to the parlour and hallways.
Brighton Royal Pavilion – Carola joined the conservation team in this iconic royal palace, central to Brighton’s identity, during Summer 2019. Alongside assisting the collections care team with necessary housekeeping duties, her main task was to assess, document, disassemble and treat the gilver gilt banqueting suite. This astonishing and beautifully crafted collection is on open display, and as a result was suffering from extensive silver sulphide tarnish. She followed a previously established treatment procedure to prepare the suite for an upcoming exhibition alongside items from the Royal Collection.
Awards and scholarships
Carola is an Anna Plowden Scholar, and would like to thank the Anna Plowden Trust and the Edward James Foundation for their generous support.
During her Post Graduate year, Carola was also nominated by her tutors for the Arts Scholar’s Conservation Award, and The BADA Harold Davies Prize which were gratefully received.
Following her graduation in 2020, Carola received a grant from the Anna Plowden Trust and The Clothworkers’ Foundation to gain further practical training or experience. This is to be a 2 month placement at Fishbourne Roman Palace, beginning in June 2021, assisting the conservation team in the treatment of archaeological objects retrieved from this nationally important site.
In support of her MA application (to begin in September 2021 at West Dean College) Carola has been awarded a grant from the York Foundation for Conservation and Craftsmanship.
Carola would like to thank above bodies for their generous support and trust which enabled her to complete her Post Graduate Diploma.
Carola now lives in Brighton, UK and has been at the long-established Cross Street Studios in Hove since 2011. Her work is regularly exhibited at the Brighton Open House exhibitions and she takes on private sculptural commissions. These are usually celebratory or commemorative pieces, typically to mark a special occasion.
She describes her inspirations:
“I spent a lot of time in Italy as a child. The enormous churches punctured with romantic shafts of dusty light, the priceless reliquaries of forgotten saints, the smell of wax and incense and the sad-faced statues surrounded by candles and votives all made an impression on me.
As my travels continued, so did my interest in shrines, reliquaries and tokens. I naturally began to create my own reliquaries: containers for my memories – a stone taken from an Australian desert, a cheap ring bought in a market in India, a dried flower from my mother’s garden. Keeping each memory safe, I began to wonder why we collect objects and make shrines. I have tried to express and explore this impulse in my work – the desire to collect and make sacred these small things that symbolise memories or feelings.”