From 2016 to 2017 Bridport Museum underwent a major redevelopment funded by the NLHF, Dorset County Council, Bridport Town Council and AIM amongst many others.

To uncover and restore the decorative scheme on a rare survival of a 19th Century Erhard single action harp.

The project comprised cleaning the discoloured varnish, retouching the artists' shrinkake cracks, revarnishing and refitting it into its frame.

St. Peter's church, Highfields, Leicester.

Full conservation of AWN Pugin designed East Window made by Thomas Willement in 1841

Full conservation of badly damaged 1876 Clayton & Bell stained glass window.

The Grimsthorpe and Drummond Castle Trust commissioned my conservation survey report, which itemised the works that were recommended and necessary with associated costs for the conservation of the very fine Drummond Sundial in 2016. Initially I had believed that the base stone was in such a vulnerable condition that it compromised the structural integrity of the whole Sundial from the base up. The open vertical bedding planes/laminations visible at the supporting shaft and upper obelisk were also a worry structurally. The following structural engineers report agreed that the compromised base with horizontal de-laminations and the shaft with vertical open laminations were a structural health and safety issue. The first stage of the conservation works were to unfortunately dismantle the entire sundial which was completed successfully in 2017.

Following the awful fire in the GSA in 2014, we completed a survey of their entire plaster cast collection, and out of all the larger casts we surveyed, the GSA chose five specific free standing 3 dimensional plaster casts and 6 low relief panels which had all been in the library corridor. We moved them to studio 39 for actual conservation work's, the first effect of the fire was the visual change in surface colour and patina of the casts, from the different lighter coloured more original surfaces at the lower areas to the now richer, darker and textured upper surfaces. But there were many challenging structural conservation aspects of the work, where new processes required to be designed, through analysis and materials. The plaster casts specifically chosen by GSA for the conservation work varied in size and sculptural form: Queen that may have a kings head, Laocoon, Lorenzo de Medici, Mercury, Mother and child of Bruges, and the six relief panels from the Cantoria. Due to the original GSA display height of the Cantoria panels, these panels had received more overall damage caused by the fire, and these casts were contaminated by ceiling and wall materials becoming soluble and potentially ingressing the porous substrate of the plaster during the fire, and became nearly even in their visual change from a cream colour to an overall very dark colouration patina. Half the work was completed in situ at the GSA, and half was completed within our workshop.

The renaissance sandstone statue of John Cowane on John Cowane Hospital, Stirling, Scotland, was to be conserved. The majority of the work was to research the original paint scheme, and several options were given to the Client, dependant on if any original paint was found, following analytical research. The conservation work was carried out with and for Benjamin Tindall Architects and Patrons of Cowane's Hospital Trust, with Curatorial and Conservation research in Scotland and the Netherlands.

Project Client: National Trust, NT Conservator John Wynn Griffiths. Graciela Ainsworth and her team were chosen to conserve the six 1,900mm in height in-situ stucco plaster Muses, modelled directly over wrought iron armatures and tied into the masonry behind with iron fixings, the Muses were modelled with a jute textile covering as the base for the fine topcoat which also gave form to the delicate drapery flows.The Muses were sculpted high up in-situ and their fixings were also corroding, further adding to the challenges, which already included their poor condition due to the historic fire damage and historic lack of a roof leaving the hall open to the elements for many years, and now the presence of both nesting birds and bats, which, in turn, needed to be respected. As required by the professional judgement and ethics standards of the PACR, the accredited conservator Graciela Ainsworth faced: the more obvious careful cleaning, grouting, pinning, and filling of the stucco, but also: 1.the major challenge of arresting the extensive damaging corrosion of the Muse's wrought iron armatures; 2.The consolidation of the jute drapery, after the 2012 National Trust (NT) report determined that no consolidant could be recommended.