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Areas of Interest: Works of art on paper, Pigments, Printed material, and Conservation Ethics 

Emma earned a BFA with Honours from York University in 2022, specializing in painting and printmaking. During her studies, she developed an interest in intaglio and reduction woodcut printmaking and was recognized for her work, receiving both the Senior Media Award and the Open Studio Award. After graduating, Emma worked as a Gallery Associate at a commercial art gallery in Toronto, where she gained hands-on experience in art handling, collections cataloguing, and preventive conservation. Working with artworks in a contemporary gallery environment further developed her interest in cultural heritage conservation. Outside of her professional and academic career, Emma maintains an active artistic practice, continuing to explore oil painting and printmaking techniques.

Areas of interest: New Spanish painting, ground layers in historical paintings, instrumental analysis in the study of cultural heritage and in informing treatment decisions and sustainable cleaning methods. 

Eunice Peralta graduated in 2019 with a bachelor’s degree in Restoration of Cultural Property from the Western School of Conservation and Restoration (ECRO) in Mexico. Her experience focuses on historical and archaeological heritage and includes leading a conservation laboratory for the Tren Maya archaeological salvage project, coordinating the conservation area of the PROMEZA Kob’a project in Cobá, Quintana Roo, and collaborating on the restoration of graphic work by José Clemente Orozco at the Cabañas Cultural Institute. In 2025, she worked as an academic technician at the Laboratory for the Analysis and Diagnosis of Heritage (LADIPA) at Michoacan’s College (COLMICH) in Mexico. Her thesis on the elemental chemical analysis of New Spanish painting ground layers was awarded an honourable mention.

Areas of interest: book conservation, history of artist materials and techniques, technical analysis, archaeology of the book 

Jane Knoll is a bookbinder, researcher, and artist. After receiving an undergraduate in writing and printmaking from Bennington College and completing the full-time bookbinding program at North Bennet Street School in Boston, Jane worked as the Driscoll and von Clemm conservation fellow at the Boston Athenæum and as Assistant Book Conservator at the Northeast Document Conservation Center. 

While preparing for the Â鶹¹ÙÍø’s program, Jane taught bookbinding and related arts at the San Francisco Center for the Book. Their research focuses on the technical history of bookbindings, with particular focus on seventeenth- and eighteenth-century structures, folk repairs, and personalized bindings.

Stream: Treatment

Specialization: Artifacts

Areas of Interest: Ceramics, glass, metal, archaeological bone and fossils, instrumental analysis, preventive conservation

Ester completed her Honours Bachelor of Science from the University of Toronto in 2019, with a double major in Biology, and Evolutionary Anthropology. During her undergraduate career, she worked as a research assistant in the Department of Anthropology, performing 3D scanning and post-processing of primate foot bone morphology. After graduating, Ester worked in the Molecular systematics Lab at the Royal Ontario Museum, doing DNA extraction, PCR, and gene sequencing for multiple curators, during which she received a co-authorship in the Journal of Molecular Phylogenetics and Evolution. Ester also volunteered at the Â鶹¹ÙÍø’s Own Rifles Regimental Museum at Casa Loma in Toronto, where she gained experience in collections management, cataloguing, condition reporting, restoration, museum photography, designing new displays and mounting artifacts, as well as participating in events promoting public engagement.
 

Areas of Interests: book conservation, archival materials, book arts 

Kim is a recent graduate of Carleton University, where she completed a Combined Honours degree in Humanities and Biology. Her interdisciplinary studies provided opportunities to develop laboratory and fieldwork skills while building a strong foundation in cultural history. During her time at Carleton, she had the pleasure of doing work in the Book Arts Lab, where she explored a variety of paper-based crafts, including bookbinding, papermaking, paper marbling and typesetting, which fostered her interest in working with paper.

Outside of academia, Kim has worked aboard a historic tall ship with Tall Ships Expeditions Canada, an experience that shaped her understanding of heritage as a living tradition. Through this work, she gained experience in maintenance and repair techniques, taught historic sailing practices, and visited culturally significant sites accessible only by water.

Areas of interest: modern and contemporary art, performance documentation and ephemera, technical analysis 

Bethany Hughes holds a BFA Double Major in Visual Arts and Creative Writing (University of Victoria, 2015) and a MFA in Creative Writing (Columbia University, 2019), where she designed a series of handmade books including a leporello of dance scores: Points of Contact, published with Tender Buttons Press. Her writing and visual art appears in Contemporary Verse 2: The Canadian Journal of Poetry, Emergency INDEX / Ugly Duckling Presse, Leste, Metatron Press, among others. She has performed in groups with Movement Research as part of Judson Dance Theater: The Work is Never Done exhibition at The Museum of Modern Art, as well as harp accompaniment for À l'École de l’Anthropocène in France and The Poetry Project in New York. Before joining Â鶹¹ÙÍø’s, she worked as a conservation assistant with Athena Art Conservation and Fraser Spafford Ricci Art & Archival Conservation.

Trisha completed an Honours degree in Art History and Visual Studies, with a minor in Museum Studies and a Professional Specialization Certificate in Collections Management, at the University of Victoria in 2021. She then studied painting and fresco conservation at Istituto Lorenzo de’ Medici in Florence, Italy, earning a professional certificate. She then pursued a Master of Science in Technical Art History at the University of Amsterdam, deepening her experience with analytical techniques, art-technological source research, and historically informed reconstructions. 

During her graduate studies, Trisha completed an internship at the Mauritshuis in The Hague, working with Team Stier on the technical examination of Paulus Potter’s The Bull (De Stier). Her research focused on investigating the possible original appearance of the sky as Potter intended. 

Trisha has gained professional experience in private conservation studios across Italy, the Netherlands, and Northern Ireland.

Interests: technical analysis, pigment research, art-technological source research

Victoria received a B.A. with a double major in Philosophy and Environment, Sustainability and Society (2016) as well as an undergraduate certificate in Art History and Visual Culture (2026) from Dalhousie University. Before arriving at Â鶹¹ÙÍø’s, Victoria previously worked as a legal researcher for the Halifax Refugee Clinic and gained experience working with collections at the Halifax Public libraries. While interning at Nova Scotia Museums, she had the opportunity to document, clean and consolidate a culturally significant ceramic teapot from Beechville, N.S., and gained a better understanding of the conservation of culturally sensitive artifacts. During her time working with the collections manager at Dartmouth Heritage Museum, Victoria worked on a large textile rehousing project, gaining experience in mount-making, documentation and the digitization of collections. In her spare time, Victoria continues to explore glaze materials and surface design while making pottery in her studio.

Sissi originally earned a bachelor’s degree in Finance from the University of Toronto. She first gained conservation experience in China, working with a group of Han-dynasty terracotta figurines, an experience that shifted her interests toward archaeological conservation. She later interned at the Royal Ontario Museum, where she continued working with archaeological ceramics, stone, and glass, and subsequently conducted research on the museum’s 18th- and 19th-century imperial Chinese textile collection. Her interests focus on exploring a range of analytical methods for the study of archaeological materials, textiles, and East Asian material culture. Her projects at the ROM included work on 17th-century Safavid dynasty painted ceramic tile arches for exhibition and the treatment of a Tang san-cai horse figurine for display in the Chinese Zodiac exhibition.