Inside OYASAF’s storage facility: climate control and art handling
An art collection is protected long before a visitor sees a work on display. Behind the galleries, storage rooms provide a carefully managed environment where paintings, sculptures, photographs, textiles, and archival materials can remain stable between exhibitions, research appointments, and conservation treatments.
For a Nigerian institution such as the Omooba Yemisi Adedoyin Shyllon Art Foundation, storage planning must respond to both the physical character of each artwork and the regional climate. Heat, humidity, dust, pests, light, and careless movement can gradually damage cultural objects, even when no immediate problem is visible.
The work requires more than shelves and locked doors. It involves environmental monitoring, appropriate packing, safe shelving, accurate records, trained staff, and a clear understanding of how different materials age. These practices help preserve the breadth of Nigerian and African art represented in OYASAF’s collection.
Why storage is part of conservation
Storage is often treated as a quiet backstage function, but it is one of the most active parts of preventive conservation. A stable room slows chemical reactions, reduces physical stress, and limits the conditions that allow mould or insects to thrive. It also gives staff enough space to inspect objects and move them without unnecessary contact.
Paintings may need vertical racks with padded supports, while sculptures require platforms that distribute weight evenly. Works on paper and photographs are particularly sensitive to light, moisture, pollutants, and fluctuations in relative humidity. Grouping objects solely by size or location can therefore create avoidable risks.
A strong storage system begins with an assessment of the collection. Conservators and registrars consider the medium, dimensions, condition, framing, weight, mounting method, and frequency of access. This information determines where an object belongs and what protective materials should surround it.
Managing temperature and humidity
Climate control in an art storehouse is about consistency rather than creating a cold room. Excessive heat can accelerate deterioration in paper, photographs, plastics, adhesives, and painted surfaces. High relative humidity can encourage mould, corrosion, and swelling in organic materials, while very dry conditions may cause wood, canvas, or composite components to shrink and crack.
In a warm and humid environment, a facility may combine air conditioning, dehumidification, filtration, and controlled air circulation. The precise target depends on the collection, building design, and conservation policy. Avoiding sudden changes is especially important because repeated expansion and contraction can stress joined materials.
Environmental sensors should record temperature and relative humidity continuously or at regular intervals. Staff can then identify patterns instead of relying on occasional readings. A sensor near the entrance may show different conditions from one beside an exterior wall, so monitoring points should represent the whole room.
| Collection material | Main environmental concern | Storage response | Handling priority |
|---|---|---|---|
| Canvas paintings | Humidity swings, dust, vibration | Padded racks and stable air movement | Carry by the frame or approved support points |
| Works on paper | Light, moisture, abrasion, pollutants | Acid-free folders, boxes, and low-light storage | Support fully and avoid direct contact |
| Photographs | Heat, humidity, fingerprints, chemical contamination | Archival sleeves and inert enclosures | Use clean gloves or handle edges carefully |
| Wood and mixed-media sculpture | Cracking, pests, uneven support | Stable platforms and pest monitoring | Lift from the base, never fragile projections |
| Metal objects | Corrosion and condensation | Clean supports and controlled humidity | Avoid bare-hand contact on vulnerable surfaces |
Moving and preparing artworks safely
Art handling begins before an object leaves its shelf. Staff should review its condition report, identify the safest grip points, clear the route, and confirm that doors, lifts, and display areas are ready. For heavy or oversized works, a handling team and suitable equipment are essential.
Clean hands, appropriate gloves, padded carts, corner protection, and rigid supports reduce common accidents. Gloves are useful for some materials, particularly metal or photographic surfaces, but they can reduce grip on smooth frames or glass. The correct choice depends on the object and the task.
Paintings should not be lifted by hanging wires, decorative projections, or loose frames. Sculptures need an assessment of their centre of gravity, joints, and vulnerable extensions. Works on paper should be carried on a board or inside a folder, with no bending or pressure applied to the surface.
Packing materials must be chemically stable and physically appropriate. Acid-free tissue, polyethylene foam, unbuffered paper, corrugated plastic, and custom crates may all have a role, depending on the medium. Bubble wrap should never press directly against a delicate surface, and sealed packing should not trap moisture around an object.
Storage systems for a diverse collection
A large African art collection may include oil paintings, acrylics, beadwork, textiles, carved wood, metalwork, ceramics, photographs, prints, and contemporary mixed media. Each category creates different demands for shelving, spacing, support, and inspection. Flexible storage is therefore more useful than a single uniform system.
Racking should be strong, stable, and anchored where necessary. Objects must be kept off the floor to protect them from leaks, cleaning water, dust, and accidental impact. Adequate clearance between works improves air circulation and allows staff to remove one object without disturbing its neighbours.
Framed paintings are often stored on padded sliding racks or purpose-built screens. Three-dimensional works benefit from individual platforms or shelves sized to their bases. Smaller objects can be placed in labelled boxes, but the boxes should not be stacked so high that retrieval becomes unsafe.
Lighting should remain low in storage, particularly for light-sensitive materials. Motion sensors or timed systems can limit exposure while providing safe visibility for staff. Windows should be blocked or filtered, and direct sunlight should never reach collection objects.
Documentation, inspection, and access
Good records make physical care more reliable. An object number, location code, image, dimensions, material description, condition note, and movement history allow staff to know what is stored, where it is stored, and what has changed. Digital collection management systems can connect these details to exhibition loans, conservation work, and research requests.
Condition checks should take place when works enter storage, leave storage, move between rooms, and return from display. Staff look for new cracks, flaking, distortion, insect activity, stains, loose components, and signs of mould. Small changes are easier to address when they are documented early.
Access procedures protect both people and objects. Researchers, contractors, photographers, and visitors should be accompanied or supervised according to the institution’s policy. A storage area should also have clear emergency procedures for fire, water leaks, power failure, pest outbreaks, and extreme weather.
The human element remains central. Reading about the curator’s daily work reveals why collection care depends on repeated observation, careful decisions, and collaboration across curatorial, conservation, education, and administrative teams.
Practices that strengthen long-term care
Preventive conservation is most effective when routine actions are consistent. A practical storage policy can turn specialist knowledge into habits that every staff member and approved handler follows.
- Keep temperature and relative humidity records, review trends, and investigate sudden changes.
- Use padded, stable supports that match the size, weight, and structure of each object.
- Maintain clear aisles, labelled locations, and safe access routes around racks and shelving.
- Inspect for mould, pests, dust, water intrusion, and physical damage at scheduled intervals.
- Update condition reports and movement records whenever an artwork is handled or relocated.
Training should be refreshed whenever new equipment, storage furniture, or collection materials are introduced. Short handling demonstrations can prevent damage caused by well-intentioned but unsuitable methods, while drills help staff respond quickly to leaks, fires, or other emergencies.
A living system of care
An art storage facility is never static. Collections grow, buildings age, exhibitions create movement, and environmental conditions shift with the seasons. For that reason, storage standards should be reviewed through data, staff experience, conservation assessments, and the changing needs of the collection.
At OYASAF, careful storage supports a wider mission: making Nigerian and African art available for learning, scholarship, public engagement, and future generations. Climate control and safe handling may happen away from the gallery, but they directly shape what audiences can study and enjoy.
Explore OYASAF’s collection, programmes, and cultural work through its website, and support the continued appreciation of Nigerian and African art by sharing, studying, and engaging with the foundation’s resources.