As the 1990s progressed I recognised that many institutions required expertise in conservation management, which was not generally available. Most held important inherited collections of books, archives, and art, but few had the resources or space to fund a full-time conservation studio. The curatorial and library staff working within these organisations had a wide range of knowledge and responsibilities, but often welcomed guidance and support from conservators who possessed expertise in both conservation and preservation. With this in mind, I developed what was then regarded as a novel approach to collection conservation by creating and implementing long-term programmes of carefully managed treatments that emphasised the need for pragmatic compromise. This type of approach was encouraged by grant givers at a time when the Heritage Lottery Fund was particularly generous in its support of conservation, and I helped many organisations raise external funding for programmes of conservation and preservation.

Nearly 40 years on, the environment in which cultural organisations and collections exist has changed considerably. The London Olympics moved HLF funding away from the arts and into sport and social projects, from which it has never returned. The banking crisis of 2008 and the years of austerity that followed resulted in a significant decrease in government funding across all areas of the arts. Brexit and the pandemic have led to a loss of confidence within many areas of cultural life, which has further affected funding levels.

Despite this, the majority of my work remains within the institutional sector and involves projects within small and medium-sized museums, archives, and libraries. Such collections benefit from my combination of practical conservation expertise, knowledge of preservation strategies, and proven management experience. I have a small base in central London, but the majority of practical treatments are undertaken in a purpose-built conservation studio near Cambridge.