Research articles
ScienceAsia 52S (2026): 1-13 |doi:
10.2306/scienceasia1513-1874.2026.s001
Safe removal of aged polyvinyl acetate binder from canvas
using nanocellulose aerogel: preserving original color of
artworks
Atikarn Kraichoka, Watsachon Leksomboona, Sasia Leelathaweewata, Siriyakorn Khumsanga,
Ochana Poonthongdeewatthanab, Nicole Tsec, Kamonwan Pacaphola,*
ABSTRACT: In artwork remedial conservation, inappropriate cleaning methods can cause undesirable discoloration
and irreversible damage to artwork surfaces. Conventional cotton-swab cleaning often poses challenges due to
uncontrolled liquid release and inconsistent manual force. To address these issues, soft hydrogels have been developed
as cleaning materials. This study developed a hydrogel capable of loading water-based cleaning solutions from bacterial
nanocellulose (BNC)andevaluateditseffectivenessinremovingagedpolyvinylacetate(PVAc), abindercommonlyused
by Thai artists, from linen canvas. BNC hydrogels were prepared using different drying techniques and subsequently
loaded with acetic acid or citric acid solutions at various concentrations. Among all techniques, supercritical CO2
drying produced a BNC aerogel with the best recovery of hydrogel characteristics and mechanical properties after
solution loading. The BNC hydrogel loaded with 10% w/v citric acid achieved the most effective PVAc removal after
eight cleaning cycles (80 min total) with suction applied beneath the canvas. The treated canvas exhibited a total
color difference (?E) of less than 2 compared with the original PVAc-free canvas and showed the lowest residual
carbonyl peak of PVAc in FTIR analysis. SEM images further revealed more individualized fibers and a reopened
porous structure resembling that of the original canvas. Moreover, the BNC hydrogel retained its mechanical properties
after use, indicating its reusability. These findings demonstrate the potential of BNC aerogel as a solution carrier for
canvas cleaning, with promising applicability to other types of artwork substrates.
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| a |
Department of Imaging and Printing Technology, Faculty of Science, Chulalongkorn University,
Bangkok 10330 Thailand |
| b |
Department of Art Theory, Faculty of Painting Sculpture and Graphic Arts, Silpakorn University,
Bangkok 10200 Thailand |
| c |
The Robert Cripps Institute for Cultural Conservation, Faculty of Arts, University of Melbourne,
Victoria 3010 Australia |
* Corresponding author, E-mail: kamonwan.p@chula.ac.th
Received 29 Dec 2025, Accepted 20 Jul 2026
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