Wisdom in art

The pathos of restoration, for Walsh, lies in the fact that it's not a be-all and end-all fix to a wounded art object. Everything will degrade in time, including art. Restoration is less about providing a one-time panacea for an art object's immortality, but more about offering a non-defining treatment, leaving room for eternal possibilities of recalibration and reinterpretation.

Walsh's acceptance that all repairs will eventually decay and that every artwork has a life expectancy, along with her belief that space should be left for future narratives, may reflect a deep, albeit unconscious, influence of Chinese art, culture and ancient philosophy on her practice, as well as that of other Chinese art restorers abroad.

Chinese art and culture have a porous sway beyond borders. To Walsh, her admiration, sensibility and affinity for Chinese aesthetics and craftsmanship have been shaped by family influence and nourished through cultural engagement, stimuli and even accountability as a cultural exchange ambassador, guardian and "moderator".

A previous project in Australia, maintaining the Dragon Wall in Sydney's Chinese Garden of Friendship, set her fervor for Chinese art and culture alight.

Giving Chinese ceramics a clinical sheen not only fulfills her artistic aspiration, but also helps to keep the cosmic richness and far-reaching wisdom embedded in Chinese art. "Wherever possible, I like to learn more about the pieces I'm conserving, viewing my work as an opportunity to preserve the history of each Chinese object for future generations across different cultures to appreciate."

Most of Fine Art Restoration Co's clientele are non-Chinese, with a significant portion being English collectors. It occurs to both Walsh and Danielle Burke, a leading art historian, that their Western clients are mesmerized by Chinese art treasures, drawn not only to their financial value - which can easily reach millions of dollars - but also to the storied heritage and lore behind each piece. "We have many English clients who collect Tang (618-907) and Han (206 BC-AD 220) dynasty terracotta, captivated by their skillful craftsmanship. The tomb guardians, in particular, hold a riveting enigma about their origins and symbolic meaning," says Burke.

An art historian and writer herself, Burke, who also works for Fine Art Restoration Co, has developed a partiality for highlighting Chinese art in her writing, placing it under the microscope to bring the rich layers of Chinese culture and civilization, steeped in over 5,000 years of history, to the surface for her Western readers. "My understanding of Chinese art, in the context that I'm English and come from a very Western perspective, is that it has inspired and formed part of our own artistic culture for hundreds of years. However, many people don't realize how strong that impact has been. There's often an intrigue that attracts myself and other Westerners to Chinese art and history in general because it has many features that are very new to us," says Burke.

"Chinese craftsmanship predates the production of porcelain in the West, making it a significant predecessor of our own art. Europe was desperate to find the secret of Chinese porcelain and it took them hundreds of years to carve out their own. I enjoy writing about Delft ceramics and how they were directly inspired by the blue-and-white patterns of Chinese porcelain, which is obscure to many Westerners," she says.

Burke has made significant strides in reading between the cultural lines in Chinese art, but she's going a step further by imparting the insights to her Western readers and collectors. "A Westerner would see a plate with a bird and flowers as nothing more than a pretty pattern. In the context of Chinese art, a bird in a floral tree could be a magpie in a plum blossom - translating directly to 'having happiness up to your eyebrows'. I want to share these hidden meanings with British and European collectors, so that they know their items mean more than just the aesthetic."

Burke and Walsh have observed growing interest in Chinese art among Western art aficionados. This is not just anecdotal. An article in investment news provider Campden FB highlighted that "Chinese art continues to hold long-term investment value" and notes that, as a tangible asset, it can provide an inflation hedge in times of global liquidity. The article further explained that China's burgeoning economy, the rise of global Chinese wealth, and easier access to art collecting, purchasing and auctions through democratized technology are all likely to intensify interest in Chinese art among collectors and investors, both abroad and within China.

Burke and Walsh see the passion for Chinese art as likely to reach a peak. They're committed to stewarding Chinese artworks in London, ensuring they will remain safe and sound and with an accurate yarn to tell.