The Good and the Evil

Description

Preservation Notes

MATERIALS AND CONSTRUCTION This is a physical painting, not a digital-native work. The record states the medium as acrylics on linen canvas with a polymer sealant. Materials recorded are acrylic paint, polymer sealant, gloss medium, and a linen canvas support. The paint layer is therefore a sealed acrylic film over a woven linen support. No dimensions are recorded, so the stretcher format and depth are unknown. The work is recorded as currently residing in Cincinnati, Ohio. Construction observed from the TIFF master (2026-09-10): the canvas reads as taut and well supported, with no sagging or distortion and no visible deterioration or fraying of the linen ground. Paint application varies deliberately across the composition, from gestural directional strokes in the upper red field, through layered grey modelling, to scumbled and abraded passages on the left side and clean hard edges around the green rectangle at right. The polymer sealant reads as evenly applied, giving a consistent moderate gloss across all colour zones. CONDITION (assessed 2026-09-10 from the full-resolution TIFF master; requires physical confirmation) This work is in good, stable condition and is the soundest object assessed in the collection to date. - No crazing or cracking in either the paint layer or the sealant. - No flaking or paint loss. - No scuffs or abrasion damage to the surface. - Sheen is uniform across the surface, consistent with intentional and even sealant application rather than patchy coverage. - Canvas taut, no sagging or distortion. - Linen ground shows no fraying or distress. - Minimal surface dust only. Assessment: stable and suitable for exhibition without immediate conservation intervention. Note that the abraded and scumbled passages on the left side are an intentional part of the artist's handling and should NOT be mistaken for damage or wear by a future examiner. CONSERVATION REQUIREMENTS Linen canvas with acrylic paint and a polymer sealant is a comparatively stable construction. Keep the work in stable relative humidity and stable temperature, and avoid direct sunlight. Dust with a soft, dry brush only. Do not use solvents of any kind on the sealed acrylic surface; sealants and acrylic films are readily softened, blanched, or dissolved by solvent contact. Support the stretcher along its members when handling, lifting, or moving the work, and never carry the painting by the top bar alone or allow pressure on the reverse of the canvas. Acrylic surfaces attract and retain airborne dust and are prone to imprinting, so avoid contact with packing materials against the face. Recommend UV-filtering glazing for display. The saturated reds are the passages most at risk of fading under prolonged light exposure and should govern the lighting limits set for this work. Note that the red field occupies the entire upper register and carries much of the compositional weight; uneven fading there would materially alter the balance of the painting. The green rectangle at right is the only other saturated passage and is equally at risk. GLOSS SURFACE NOTE: the even polymer gloss is a characteristic of this work and should be preserved. Any future cleaning or treatment must avoid creating localised differences in sheen, which would be visually obvious across an evenly sealed surface. DIGITAL RECORD The original capture was scanned in Sweden as a TIFF master in high, medium, and low resolution variants. The medium and low resolution variants are held outside this archive. CURRENT ASSET: TIFF master, 6645 x 4700 pixels, 89.4 MB. Filename TheGoodandTheEvil-Alijia-FullRes.tif. Uploaded 2026-09-09. Note that the filename contains a misspelling of the artist's surname, rendered as Alijia rather than Alijila; this originates with the source file and is recorded here as it stands so the asset remains identifiable. This record holds the full-resolution TIFF master, uploaded without conversion. It replaces the previous derivative (JPEG, 4000 x 2829 pixels, 3.5 MB) and carries approximately 2.8 times the pixel information. Effective scan resolution: CANNOT BE CALCULATED. The dimensions field on this record is empty, so there is no physical measurement against which to compute DPI. Every other record in this collection carries a DPI figure and a stated maximum reproduction size; this one cannot until the work is measured. See verification note 1. What can be stated without dimensions: at 6645 x 4700 pixels the file will reproduce at 300 DPI up to 22.2 x 15.7 inches (56.3 x 39.8 cm), and at 200 DPI up to 33.2 x 23.5 inches. Whether that constitutes reproduction at, above, or below actual size depends entirely on the physical dimensions of the painting, which are unrecorded. For comparison, works of similar pixel count in this collection have resolved at approximately 390 to 400 DPI where the physical work measured around 43 x 30 cm.

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