AICCM National Newsletter No 169 April 2026

Dear Members, As we move into 2026, I wanted to share an update on where things are at across AICCM and the work underway to deliver our 2025–2030 Strategic Plan. After the transformational energy and momentum of 2025, this year is very much about putting the foundations in place, the systems, structures and partnerships that

I am grateful to have received the 2025 Molonglo Plains ArtsNational Student Conservator of the Year Award. This recognition feels like the cherry on top of what has been an excellent year of postgraduate study at the University of Canberra, and it has helped confirm that I’m on the right path. I first discovered heritage

The Gels and Nanofluid Workshop, hosted by Bay-Area business Art Conservation de Rigueur (ACdR), owned and directed by Elise Morin-Rousseau, brought together nanotechnology chemists and art conservators to explore recent developments in gel-based and nanofluid technologies for cultural heritage conservation. The workshop was led by chemists from the University of Bologna, a world leader in

Over Chinese New Year, the Year of the Horse, I supported the See Yup Temple’s celebrations from 17 February for seven days as part of my ongoing work assisting the See Yup Society after a devastating fire in February 2024, which destroyed the main hall of the temple where Kwan Tai has been worshipped since

Last year, AICCM ACT co-treasurers Heidi Treloar and Lisa Hayes organised a long-overdue catch-up with Mr Ian Batterham – who, for many in the conservation community, needs little introduction. With Ian announcing his thoughtful decision to step down as President of the AICCM ACT chapter, the occasion called for a fitting tribute: a good old-fashioned

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

As a waahine Maaori travelling from Aotearoa New Zealand to Australia to study cultural conservation, key principles of Te Ao Maaori (the Maaori worldview) shape the way I understand and engage with the discipline. My interest in cultural conservation grew from a deep love of art and a desire to understand the field through a