Prepare for ageing

Be transparent about potential optical changes over time and communicate any anticipated future alterations to galleries, curators, or collectors. Consider embracing and celebrating these changes.

Plan for aftercare

Integrate a plan for aftercare into exhibition and acquisition protocols, including instructions for disassembly, storage, relocation, future exhibitions, and responsible reuse or disposal.

Use clear contracts

Artology offers a customisable contract for every sale, specifying guarantee periods for artwork and responsibilities for repairs. This ensures clarity and reduces redundancy in case of faults.

Document thoroughly

Properly document materials, products, and processes used in artwork production to provide maintenance, handling, and installation instructions to collectors and institutions.

Protect against unwanted changes

Note materials sensitive to UV light, extreme heat, or humidity to prevent undesired alterations and provide conservation teams with essential information for proper protection.

Understand waste streams

Familiarise yourself with local waste streams to make environmentally responsible material choices. GCC provides waste guidelines for inquiring about waste streams and selecting waste management companies.

Explore recycling options

Investigate specialised recycling programmes and facilities in your region that accept difficult-to-recycle materials. Look into the possibility of drop-off centres.

If a work is sold, this Environmental Responsibility Rider should be shared with the collector/organisation and the same requirements should be sought.
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If the work is to be disassembled, I/we will consider how materials can flow back into the ecosystem in the least harmful way. I/we will consider planning for the materials aftercare of the work from the earliest stages of the project, working towards a cradle-to-cradle ethos with recyclable, reusable or even biodegradable materials.

Mary Ellen Carroll’s SUD/NORTE is part of an ongoing series that utilises minerals as materials as process. The materials are chosen with the intention that they will change from the atmosphere and without knowing exactly what the effect will be. The degree of change varies considerably from the climate, geographic location, and manner in which the work is being displayed. The artist uses a disclaimer to communicate that the materials in her work are impacted by the atmosphere and to ensure the knowledge of this is understood by the collection where the work is being stewarded and for there to be no conservation, barring that a work is damaged.