A young woman with black hair and tattoos on her arms, wearing a sleeveless black vest, stands in front of a mural of a tattoo parlor scene with two women and a man, all with visible tattoos, in a tattoo studio setting.

About Me

I am Rhiannon Piper, a paintings conservator-in-training and oil painter with a deep commitment to both the preservation and creation of art. As a postgraduate student in the Conservation of Easel Paintings at Northumbria University, my work focuses on the technical and material aspects of paintings—examining their structures, understanding degradation, and carrying out conservation treatments. My training includes imaging techniques, microscopy, cleaning systems, retouching, and structural treatments, alongside research in conservation science and preventive care. Engaging with paintings in this way has reinforced my appreciation for the complexities of their history, construction, and preservation.

A woman with short dark hair, tattoos on her arms, wearing a sleeveless black top and black pants, stands in front of a painting in an art gallery, looking to her right.

My own artistic practice is equally rooted in technical exploration. I work primarily in oil paint, preparing my materials by hand and maintaining a strong focus on craftsmanship. My work centers on storytelling, identity, and perception, using controlled technique and surface manipulation to create layered, introspective narratives. I see painting as both a physical and conceptual process—one that not only engages with history but also challenges contemporary ideas of self and representation.

At the intersection of conservation and artistic practice, my work is guided by a deep respect for painting as both an object and an evolving cultural artifact. Whether preserving existing works or creating my own, I am committed to understanding and engaging with the material and conceptual longevity of paintings.

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