An important element in collecting art is knowing how to properly take care of it. From sculpture to works on paper to textiles, different materials have different needs for staying in top shape. The IAQ spoke with gallerists, artists, and a curator to find out how to care for your art.
A common recommendation is to, when possible, speak with the artists directly about how to care for the pieces they create. “The artist themselves would know better than anybody else,” says gallerist Patricia Feheley, CM, of Feheley Fine Arts in Toronto, ON. [1] While it is important to take care of your artwork, Mark London, from Galerie Elca London in Knowlton, QC, also accepts that pieces will age and change over time. “I don’t want a piece from the ’50s to look like it was carved yesterday,” he says. [2] If you notice any breaks or issues with your pieces of art, Feheley and London strongly recommend speaking with a professional restorer rather than trying to repair them yourself.
Derrald Taylor Bear Drummer with Walrus (2018) Marble, stone, and caribou antler 31.8 x 12.7 x 10.2 cmCOURTESY INUIT GALLERY OF VANCOUVER © THE ARTIST
Sculpture
There are many materials that artists sculpt, and knowing which material your piece is made of is very important, according to sculptor and jeweller Derrald Taylor from Tuktuuyaqtuuq, Inuvialuit Settlement Region, NT. “Care depends on what kind of carving it is, what kind of stone,” he says. [3] Softer stones, like steatite, are delicate and can easily be scratched. “The colours are really nice, but handling it is kind of sensitive . . . you could scratch it with your fingernail.” Harder stones, like serpentinite and marble, are much more durable and can be handled with less concern. Taylor recommends displaying sculptures in low-traffic areas to avoid them getting hit and dusting them off once in a while. He also recommends applying tung oil occasionally, once or twice a year, to keep the piece from cracking.
Feheley also warns against placing sculptures in direct sunlight, because they may crack. London recommends using a soft cloth to dust them.
Akinasi Partridge Paunnaq (work in progress) (2023) Coloured pencil, fineliner, and marker 43.2 x 30.5 cm© THE ARTIST
Graphic Art
Rule number one for works on paper is to never hang them in direct sun or bright light. “Nothing will degrade a work on paper like being left in direct sunlight,” says curator and writer Emily Laurent Henderson, who is of Kalaallit and settler heritage. [4] For drawings and prints, even if the pigments themselves are not fugitive—meaning they are impermanent and can change hue with exposure—the paper is and can be damaged by the light. Henderson suggests keeping your graphic work away from windows and, if possible, even switching them out once in a while so they can spend time in dark storage, prolonging their lives. Temperature and humidity are also important to keep in mind to avoid damage. It’s best to keep works on paper in dry, cool rooms, so avoid hanging and storing pieces in potentially damp places like basements, bathrooms, kitchens, and garages. “Mould and mildew are among the most common issues I have seen in works that have been in storage for a while,” says Henderson. If you are storing multiple unframed works, be sure to add a layer of paper or tissue between each one to prevent inks or graphite from bleeding.
Another important element in caring for works on paper is framing, ideally behind glass or plexiglass that has UV-filtering properties. “Frame them properly . . . choose a good framer because not every framer has the same standards,” London says. He recommends asking a trusted gallery for framer recommendations and insisting that archival-quality materials are used—acid-free paper, hinges, and backings—to help prevent damage. According to the Canadian Conservation Institute, frames should consist of a rabbet that is deep enough for the thickness of a mat, a backing board, and a glazing material like glass or plexiglass. [5]
Hannah Tooktoo Tea Time no. 3 (2024) Acrylic 40.6 x 30.5 cm© THE ARTIST
Paintings
Acrylic paint tends to be relatively flexible and may be less prone to cracking than other types of paint, but the risk of cracking increases when it’s exposed to moderately low temperatures. Because of this, transporting acrylic paintings during the winter can be risky. [6] Most of the damage that painter and sculptor Logan Ruben, from Paulatuuq, Inuvialuit Settlement Region, NT, sees is from dents and scratches that typically happen during transport or canvas stretching over time. When moving paintings, Feheley recommends being extremely careful and covering them with plain plastic, meaning non-bubbled plastic, never bubble wrap, which could leave a mark on unframed paintings. For works on canvas, it’s also important to make sure that the stretcher—the wooden frame under the canvas that keeps the surface taut—is strong and stable. You can test this by holding a painting vertically, making sure the bottom edge is resting on a padded surface, and moving it gently back and forth. The centre should move only slightly. If the support is not stable, it is best to take it to a conservator to evaluate and fix. People often paint with acrylics on paper, too, but Ruben notes that it’s important to choose the right paper, generally no less than 300 gsm, to prevent buckling.
In terms of lighting, Ruben says that indoor lighting is fine: “Acrylics are pretty hardy, but I still try to keep mine out of really hot and bright direct sun so the colours stay looking fresh.” [7] He recommends dusting paintings once in a while, just with a soft cloth or a feather duster, but says to avoid water or cleaners. “Acrylics are tough, so a little care really does go a long way,” he says.
Watercolour tends to be susceptible to damage from dirt and dust because of the porous nature of the pigments and paper, so proper framing is particularly important for watercolour paintings. Since these types of paintings are often created in thin washes, even minor colour changes or fading can be apparent, and some of the colours can also fade easily in light. [8]
David Kakuktinniq Jr. Milky Way Over Tulukkaat (2023) Digital photograph© THE ARTIST
Photographic Material
When handling photographs, always wear lintless nylon or cotton gloves to avoid damaging the photographs with fingerprints and oils. “Fingerprints are really, really bad on a photographic surface,” says Feheley. Care of photographs is similar to works on paper: frame them to provide protection from handling, dust, and small fluctuations in humidity, and keep them out of direct sunlight. Even some fluorescent and halogen lights emit UV light, which will cause discolouration and weakening over time. Photographer Cora Kavyaktok, from Iqaluktuuttiaq (Cambridge Bay), NU, recommends UV glass if displaying photos in sunny areas and choosing a professional photo lab for printing. “There’s definitely a difference between getting your photos printed at Walmart versus a professional photo lab,” she says. [9] Professional photo labs will use better quality ink and finishes that will help protect your photographs from damage. To clean photographs, you can use a soft brush to remove surface dirt.
Janet Amarook Atitak (2008) Felt, embroidery floss, and duffle 44.5 x 66 cmCOURTESY FEHELEY FINE ARTS © THE ARTIST
Wallhangings and Textiles
According to Feheley, one of the most important aspects in keeping wallhangings in good shape is making sure dust doesn’t accumulate. Some people encase textiles in plexiglass or glass cases for protection, but this is very expensive. “We often sew them [wallhangings], just at the corners, to pure linen, which is acid-free, and frame them in order to keep the dust off,” she says. Feheley advises not putting too much tension on the edges and to be careful with sun exposure, as the sun can affect the colours. Deterioration of natural fibres like silk, cotton, and wool is accelerated by heat and moisture, [10] so it’s best to store and display wallhangings in dry areas. This will also help prevent mould growth, which textiles are susceptible to. If you’re storing wallhangings, the best way is to roll them loosely and keep them in a large tube, rather than fold them. Alternatively, you can roll textiles around a tube and cover it with a cotton sheet to protect it from dust.
Christine Dunbar Purple Caribou Hair Tufted Florals (2025) Caribou hair, beads, gold beads, moosehide, faux leather, and wire 2.6 cm diameter© THE ARTIST
Jewellery
Jewellery care depends on the materials used in the pieces, but generally, jewellery should be kept out of the sun to avoid discolouration and be stored in a secure place, like a box, or hung when not worn. Phebe Bentley, who incorporates untreated pieces of caribou antler in her earrings, highlights the importance of being diligent about keeping the pieces dry and out of direct sunlight. This recommendation also applies to metals.
For pieces with caribou hair tufting, Inuk of Inuk360 says, “Don’t put it in direct sunlight, don’t put it where there’s smoking, don’t put tufting hanging over the stove like some people do,” [11] because smoke will ruin the tufting. She recommends hanging up earrings and pendants to make sure the hair doesn’t get crushed. “You work with what you have . . . I even use coat hangers and turn it upside down, so now I have three rows of hanging earrings,” she says. Brooches and pendants could also be kept in jewellery boxes to protect them.
For beaded work, sewist and beadwork artist April Allen, from Rigolet, Nunatsiavut, NL, recommends keeping them away from moisture, lotion, and perfume, which can all weaken the thread and dull the colour of the beads. She recommends you store them flat when you’re not wearing them to avoid stretching the thread. Allen suggests wrapping pieces separately in fabric to avoid tangling when travelling. For metalwork, particularly silver, exposure to light is something to keep in mind, as it will cause silver to tarnish. Feheley also recommends handling jewellery made with metals with care, as they can be scratched, particularly if they are burnished.
April Allen Midnight Tundra (2024) Leather, sealskin, fox fur, and beadsPHOTO ALLEN LAU © THE ARTIST
Clothing and Accessories
Allen, who also works extensively with sealskin, mentions it is an extremely durable material. “It was designed by nature to survive harsh northern climates, but it still deserves gentle care.” [12] Allen points out that being aware of the preparation—if the sealskin is commercially tanned or prepared by hand—is important for care. She uses commercially tanned sealskin in her work, which makes the material more durable, and sealskin that has been prepared by hand contains more natural oils, making it more sensitive to moisture and temperature. She recommends using a soft brush or even fingers to keep the fur lifted and fresh and storing sealskin in dark, cool places. “These materials come from the land and from generations of Inuit knowledge . . . they soften with wear, warm up with your movement, and change gently over time. That’s part of their beauty.”
For garments and accessories made with leather, Allen recommends giving them space, meaning don’t bunch them up, and storing them in dry, dark, and cool places. Fur in general should be hung so it’s not flattened and should not come in contact with perfumes or hairspray. Cashmere and wool should not be hung, because they could stretch, and should be spot cleaned with just water when needed and not overwashed, as they are very delicate. In most cases, washing only when absolutely necessary is advised so that materials don’t dry out or break down faster. “I’ve learned that these materials age beautifully when you let them be. They don’t need intense cleaning—just thoughtful, respectful handling,” she says. If you do notice any damage to your pieces, reach out to the artist who made the piece. If this isn’t possible, Allen suggests taking your pieces to a professional who works with leather, fur, or textiles.
NOTES
1 All quotes Patricia Feheley, interview with the IAQ, November 2025.
2 All quotes Mark London, interview with the IAQ, November 2025.
3 All quotes Derrald Taylor, interview with the IAQ, November 2025.
4 All quotes Emily Laurent Henderson, interview with the IAQ, December 2025.
5 “Framing Works of Art on Paper – Canadian Conservation Institute (CCI) Notes 11/9,” Government of Canada, last modified February 22, 2019, canada.ca/en/conservation-institute/services/conservation-preservation-publications/canadian-conservation-institute-notes/framing-works-art-paper.html.
6 “Know Your Paintings – Structure, Materials and Aspects of Deterioration – Canadian Conservation Institute (CCI) Notes 10/17,” Government of Canada, last modified September 12, 2017, canada.ca/en/conservation-institute/services/conservation-preservation-publications/canadian-conservation-institute-notes/know-your-paintings-deterioration.html.
7 All quotes Logan Ruben, interview with the IAQ, November 2025.
8 See note 6 above.
9 All quotes Cora Kavyaktok, interview with the IAQ, February 2026.
10 “Mould Growth on Textiles – Canadian Conservation Institute (CCI) Notes 13/15,” Government of Canada, last modified February 22, 2019, canada.ca/en/conservation-institute/services/conservation-preservation-publications/canadian-conservation-institute-notes/mould-growth-textiles.html.
11 All quotes Inuk, interview with the IAQ, August 2025.
12 All quotes April Allen, interview with the IAQ, December 2025.
This Feature was originally published as “Protecting Your Piqutiit” in the Summer 2026 issue of the Inuit Art Quarterly.