Interview: On dedication, responsibility, and challenges

In an interview with the German trade journal "Deutsches Handwerksblatt", certified restorer Agnieszka Wojdan talks about her profession, which is also her calling – from her commitment to the craft to everyday challenges and wishes for the future.

Agnieszka Wojdan, certified restorer and owner of a restoration studio and expert office in Cologne, in an interview with the German trade journal.

DHB: Ms. Wojdan, you are very active in promoting your profession through your website and social media. Why do you do this?
Wojdan: I have been working as a [profession/company] for about 30 years. Restorer I work in the field and have completed two academic degrees that complement my practical work with sound knowledge of art history, materials science, and conservation. Conservators and restorers work on valuable art and cultural objects and make a crucial contribution to preserving their original substance and historical significance in the long term.

Despite this great responsibility, the future of our profession worries me. The title "restorer" is not protected in many areas, meaning that people without professional qualifications can offer restoration services. These individuals often offer very low prices that meet neither professional standards nor the necessary care. For qualified restorers, it is almost impossible to compete with such providers without compromising their own professional ethics.

This situation is not only economically burdensome, but above all, it endangers our cultural heritage. Restoration requires scientific methodology, in-depth knowledge of materials, and the ability to correctly assess damage and implement reversible, minimally invasive measures. Unqualified interventions, on the other hand, often lead to damage that is difficult or even impossible to repair later.

Therefore, it is important to raise awareness of the importance of professional restoration and to clearly communicate how indispensable professionally qualified work is for the preservation of our cultural heritage.

DHB: But you are represented by an association, aren't you? 
Wojdan: For 30 years I was a member of the Association of Restorers and actively participated during that time. I fundamentally understand association work as an important protection and support for its members. Nevertheless, I have come to realize that, in my view, some key issues have not been pursued to the extent necessary for the future of our profession. For this reason – after careful consideration and with mutual respect – I have decided to end my membership.

At the same time, I am currently involved in the Federal Association of German Experts and Specialist Assessors, where I contribute my expertise and find my restoration and expert work well integrated. For me, this step was a personal decision to clearly define my professional priorities.

Agnieszka Wojdan with one of her interns. Photo: © Agnieszka Wojdan

DHB: Could you please explain that?
Wojdan: For years, many restoration and craft professions have faced a fundamental problem: increasingly poor payment practices – not only in the private sector, but especially with large clients, companies, and public authorities. Invoices often remain unpaid for months, forcing businesses to make significant upfront investments.

These professional groups incur high ongoing costs: workshop rent, material procurement, transport, specialized equipment, safety gear, and continuous training. Many jobs also take place under demanding conditions – for example, outdoors in winter or on listed buildings that require special expertise.

The sector performs skilled, sometimes highly specialized work to preserve cultural heritage, but recognition and remuneration often fail to reflect this. Long-term payment delays not only jeopardize individual projects but also the economic stability of entire specialist businesses.

The profession of conservator-restorer urgently needs political protection. As long as the title is not protected, unqualified, low-cost providers will destroy our cultural heritage – and qualified professionals will lose contracts. We demand clear legal standards, fair procurement rules, and stable funding for conservator-restorer degree programs. Without these measures, we risk the irretrievable loss of centuries-old works of art.

DHB: You also work closely with various specialist groups. How does that work?
Wojdan: I have great respect for all the professionals with whom conservators and restorers collaborate. Many different professional groups are involved in our field – for example, shipping companies, craft businesses, conservators working in the trades, scientists, and technical service providers. It is important to me that we always treat each other with respect and as equals, regardless of our professional roles.

DHB: You just mentioned payment practices. Is it really so common for large clients to behave in this way? 
Wojdan: It is frequently reported within the industry that some larger clients deliberately delay payments. This is sometimes based on the assumption that smaller businesses or self-employed conservators and restorers cannot afford to endure lengthy legal disputes, either financially or in terms of time. This practice significantly strains the economic stability of specialist companies and exacerbates the already precarious fee situation in the restoration sector.

'The goal is to preserve the original state without altering the artistic statement – ​​and always using methods that are as gentle, reversible, and transparent as possible,' explains Agnieszka Wojdan about her work. Photo: © Agnieszka Wojdan

DHB: How do you understand the work of your profession? 
Wojdan: Conservators and restorers preserve tangible historical artifacts and thus a vital part of our cultural heritage. Our work is highly specialized and encompasses numerous disciplines – from paintings and polychrome sculptures to ceramics, glass, paper, wooden objects, textiles, and stone, as well as complex architectural objects and historic masonry. Each area requires precise knowledge of materials science, art history, and applied restoration techniques.

We work not only with historical works, but also with modern and contemporary art, whose materials and techniques are often particularly demanding. In every case, the same principle applies: we intervene only to the extent that is necessary for conservation and ethically justifiable. The goal is to preserve the original condition without altering the artistic statement – ​​and always using methods that are as gentle, reversible, and transparent as possible.

DHB: Ms. Wojdan, I read that you, like many other restorers and colleagues from technical universities, are involved in the flood damage efforts on the Ahr.
Wojdan: The flood disaster presented an extraordinary challenge for the entire restoration industry. Numerous workshops and specialists provided assistance without bureaucracy, taking on sponsorships for damaged objects to ensure their preservation. I myself assumed three such sponsorships. Special procedures and technical adaptations were necessary for the recovery and initial treatment of the often heavily mud-covered or waterlogged artworks, including new equipment for the gentle removal of sediment. For many of us, the work ventured into areas where we had little prior practical experience. Nevertheless, we were able to stabilize a significant number of the affected works and restore them to a considerably improved condition.

DHB: You are worried about the future of this profession. What are the prospects for training and further education?
Wojdan: The situation for restoration degree programs in Germany has been strained for years. A current example is Berlin: At the Technical University (formerly HTW Berlin), a conservation and restoration program is seriously at risk of being discontinued due to a lack of funding. Should such a program be eliminated, it would have far-reaching consequences for the entire profession. Highly skilled restoration work is based on academic, interdisciplinary training – every loss of a study opportunity exacerbates the shortage of skilled professionals and weakens the long-term preservation of our cultural heritage.

'Restoration is not an activity that one simply performs – it is an attitude. It demands patience, humility, responsibility, and the ability to recognize, at its core, what should remain,' says Wojdan. Photo: © Agnieszka Wojdan

DHB: Do you regret choosing this profession? What motivates you to continue in this profession?
Wojdan: No, I don't regret this profession. For three decades I've experienced highs and lows, and yes – much of what we've discussed makes this path difficult at times, sometimes even existentially challenging. But the crucial thing is: I'm doing exactly what fulfills me.

I don't feel like I chose this profession. Rather, I have the impression that this profession found me. Restoration isn't a task you simply perform – it's an attitude. It demands patience, humility, responsibility, and the ability to recognize, at its core, what should remain. 

What motivates me? The certainty that my work has meaning. That something worth preserving is given a future through my hands. And as long as this inner clarity sustains me, I will continue on this path – no matter how challenging it may sometimes be.

DHB: What is the problem if they do their work and the customer doesn't show the necessary appreciation?
Wojdan: This happens quite often. When I clean an oil painting, its appearance often changes considerably. Many people don't realize how much yellowed varnish, nicotine, or dirt can distort the colors. Once this surface film is removed, the original hues reappear – a seemingly "brown" sky might turn out to be an intense light blue. Such changes aren't an artistic alteration, but rather the uncovering of the original state.

Another problem arises from amateurs or so-called semi-professionals who attempt restoration work using internet tutorials. These interventions are usually carried out without knowledge of materials, aging processes, or reversibility, and often cause considerable damage. Later, we are expected to save the object – which is not always entirely possible.

That's why the qualified training of young conservators is a key priority for me. I have supervised numerous interns and taught them fundamental conservation principles, enabling them to pursue careers in demanding fields.

Photo: © Agnieszka Wojdan

DHB: You are a qualified expert. What significance does this have for your current work? 
Wojdan: The profession of conservator-restorer requires continuous professional development. Materials, types of damage, and methods are constantly evolving, and only through regular training can one work at the highest professional level. For me, expanding my skills was therefore an important step.

In 2023, I completed supplementary studies in the field of expert assessment and appraisal for art and cultural heritage and have since been certified according to ISO/IEC 17024. This international standard ensures that experts work according to verifiable, audited quality criteria.

In everyday language, the terms expert and appraiser are often used interchangeably. However, professional qualification is crucial. Unfortunately, there are always individuals offering appraisals without training or certification. Such unqualified assessments can significantly endanger works of art and are legally problematic in certain contexts – for example, in insurance or court-ordered appraisals.

The combination of restoration expertise and specialist qualifications enables a sound assessment of the condition, authenticity, and value of historical and contemporary works of art. This dual competence makes a significant contribution to the responsible preservation of our cultural heritage.

DHB: They are not only busy restoring the works, but they also bear the responsibility of arranging for the transport of works, for example for museums.
Wojdan: In fact, conservators and restorers often take on responsible tasks in the field of art transport. Depending on the commission, we carry out courier services both independently and within museum settings. Each object is first documented, professionally packed, and accompanied during transport.

At the destination, we ensure that the artwork is installed or exhibited under the necessary conservation conditions. Throughout the entire loan or exhibition period, the object may not be touched, moved, or altered without the consent of the responsible conservator. Before its return, a thorough examination and documentation are carried out to definitively record its condition.

Photo: © Agnieszka Wojdan

DHB: Which of your projects has received the most attention in recent years?
Wojdan: One particularly noteworthy project was the restoration of a church wooden sculpture heavily infested with pests. The work was not only technically demanding but also visually very impressive – the corresponding video on my Instagram channel It has been viewed over 1,6 million times. Of course, there are projects that are considerably more interesting from a restoration perspective, but I was very pleased with the positive response to this documentary.

DHB: If you could choose one restoration project, what would it be?
Wojdan: If I could choose a restoration project, it would be one that presents a particular challenge from both a conservation and scientific perspective – perhaps a large-format, complex painting or a significant sculpture with multifaceted damage patterns. Such projects require close collaboration between various disciplines, extensive material analyses, and long-term conservation strategies. For many conservators, the "greatest" aspect is not necessarily working on a famous piece, but rather the opportunity to contribute to a culturally and historically significant object whose preservation makes a genuine contribution to our cultural memory. A project where research, meticulous craftsmanship, and a deep sense of responsibility for the original converge at the highest level – that is the true pinnacle of our work.DHB now also digital!Simply click here and register for the digital German Crafts Journal (DHB)!