The 2026 FRAME: Concept, History & Conservation Symposium in Hobart was a significant and energising event for the conservation community. Building on the success of the earlier FRAME symposia in Melbourne and Sydney, this third iteration demonstrated just how vital the forum has become, not only within the Southern Hemisphere but also internationally. More than a series of presentations, it was a gathering of specialists, makers, researchers and conservators from across Australia and abroad, all united by a shared commitment to the study, preservation and future of picture frames.
What made the symposium especially important was its breadth. Frames were not treated as secondary decorative surrounds, but as culturally significant objects in their own right – objects that warrant close historical study, thoughtful conservation, skilled making and ongoing advocacy. Across the three days, the program created space for discussions that moved fluidly between museum practice, technical investigation, ethics, collection history, replication, glazing, digital documentation and traditional craft knowledge. In doing so, it made a compelling case for frames as an essential part of our cultural heritage.
The keynote presentations set a particularly strong tone. Dr Charlotte Chastel-Rousseau’s opening address on the Louvre’s antique frame collection highlighted the remarkable scale and complexity of that collection, while also exploring the changing status of frames from utilitarian decorative objects to patrimonial works of art. Josephina de Fouw’s keynote on the Rijksmuseum traced evolving approaches to framing and reframing over time, showing how institutional perspectives continue to shift as frame collections are increasingly recognised as important subjects of study in their own right. Dr Malgorzata Sawicki’s keynote brought the discussion into the practical and ethical realities of treatment, offering a critical framework for evaluating re-gilding, in-gilding and in-painting in gilded wood conservation. Together, these papers underscored the intellectual depth of frame studies and the complexity of the decisions that shape their care.
Equally valuable was the truly international character of the symposium. Contributors travelled from across Europe, the United Kingdom, the United States and Australia, and their presence in Hobart reflected both the strength of the FRAME symposium series and the growing international recognition of Australia as an important site for dialogue in this specialist field. There was a strong sense of shared purpose throughout the event, with participants bringing not only expertise, but also generosity, passion and a clear investment in the future of the discipline.
Another strength of the symposium was its focus not only on conservation, but also on making. This felt especially important. The program acknowledged that the future of frame conservation depends not only on treatment knowledge, but also on the survival and transmission of specialist craft skills. Papers and discussions addressing reproduction frame making, carving, ornament, repair techniques and workshop knowledge made it clear that frame practice is sustained by deeply embodied knowledge – knowledge that must be actively shared if age-old traditions are to continue. In this sense, the symposium was not simply about preserving historic frames, but also about sustaining the skills, material understanding and making traditions that allow this work to remain meaningful and viable in the present.
The symposium also engaged thoughtfully with the practical complexities of treatment. Discussions around the use of gel systems were especially insightful, highlighting their potential in addressing the inherent difficulties of treating gilded surfaces, which are often highly sensitive to abrasion and water-based materials. These papers reinforced the need for carefully considered, material-specific approaches when working with decorative surfaces, and demonstrated how ongoing research into cleaning systems and treatment methodologies can support more controlled and effective conservation outcomes.
Alongside these practical treatment discussions, one of the most exciting aspects of the symposium was its engagement with emerging digital and computer-based technologies and the potential these hold for the future of frame research. Of particular interest was the way these tools may open new possibilities for documentation, comparative analysis and the creation of richer, more accessible collection records. As these methods continue to develop, they offer promising ways to support conservation practice, deepen scholarship and expand how frames are studied, interpreted and shared. Importantly, these approaches were not presented as a replacement for traditional connoisseurship or material understanding, but as valuable tools that can work alongside and strengthen them.
For me, one of the most valuable aspects of attending was the opportunity to reflect on how these ideas can be carried back into studio practice. The symposium reinforced the importance of approaching frames with both technical rigour and respect for their historical and material complexity, while also embracing innovation in documentation, research and treatment. Discussions around frame history, conservation ethics, making traditions, gel cleaning systems and new technologies offered practical and intellectual insights that will continue to inform work undertaken within the Grimwade Conservation Studio (GCS).
The Hobart setting also contributed to the success of the event. Site visits and collection-based discussions grounded the symposium in real objects and real spaces, creating valuable opportunities for conversation beyond the lecture theatre. These moments of shared looking and discussion reinforced the collegial spirit that ran through the program and reminded attendees that frame scholarship and conservation are at their strongest when knowledge is exchanged openly across institutions, disciplines and generations.
Overall, the 2026 FRAME Symposium was a powerful reminder that frames matter – historically, aesthetically, technically and culturally. It demonstrated the depth of expertise within this field, the international appetite for continued dialogue, and the importance of sustaining both conservation practice and traditional making knowledge into the future. I am grateful to GCS for supporting my ongoing professional development through attendance at this symposium, and I look forward to applying the ideas, approaches and innovations explored in Hobart to future work within the studio.