In an interview with Fine Art Shippers, they shared insights into restoration and conservation, the art world of the MENA region, and the story behind their company.

What inspired you to establish SC Atelier? Could you share the story behind its founding?

Sahar Sharif: I’ve been working in conservation for about ten years across different countries and continents—especially in the Middle East. And I’ve often heard from industry professionals that it’s easier to work with a company rather than an individual. Then I met Carl, and together, we came up with the idea for SC Atelier. The name represents both of us—Sahar and Carl.

Carl Adler: I’m relatively new to the conservation space, but I’ve always had a passion for heritage. My background is in urban planning and sustainability, and when I met Sahar, we quickly realized that this could be a meaningful project for both of us. With my experience in research, creative writing, and documentation, I think our skills and interests complement each other perfectly.

Carl, you've mentioned that you bring your expertise in management and creative writing. Do you also apply your background in urban development?

Carl: I’d say it all applies. Much of my training has been in the conservation and protection of heritage buildings and urban spaces—an area we’re also looking to explore further. When it comes to fine art, my main expertise is in documentation, particularly in research and condition reports.

How do new project opportunities usually come your way?

Sahar: The first contact I usually get is an email or a call saying, "Hi, are you available for this project?"
I remember when we were in Paris, we received a call from an unknown number. We thought it might be from Qatar, but we didn’t recognize it, and I thought it was a scam. Then, I received a message from the same number asking, "Are you available to work on a collection? We need someone immediately."

This happened on January 1st—New Year's Day. Without hesitation, I called back, and before I knew it, I was working on a project for the Museum of Islamic Art in Doha. That’s usually how it goes—clients often need someone right away, and we do our best to be there to meet their requests and needs.|

Could you share about some of your recent projects and what excites you about them?

Sahar: Our most recent project is with a foundation in Abu Dhabi. We’ll be restoring glass and plexiglass prisms. I’m really excited about it! These multicolored prisms are incredibly beautiful—you can’t help but keep looking at them, which is what initially drew me to this project.

Could you talk about your background? Where did you study, and what’s your specific area of expertise in conservation?

Sahar: I studied at New York University, where I earned a master’s in Museum Studies and completed certifications in art conservation. More recently, I did a certification with the International Institute in the UK.  I’m always learning and taking courses related to the projects I work on. Over the years, I’ve gained experience with a wide range of conservation work, including sculptures, paintings, and installations. I also specialize in time-based media, such as video, archival film, and other older formats.

Carl: I did my bachelor's degree in Geography at UC Berkeley. As part of that, I worked on a year-long research project in Mumbai. It focused on the conservation of buildings and structures, as well as the community within an informal settlement—an area that is incredibly dense, with half a million people per square kilometer. After that, I pursued a master's degree in Urban Planning at Sciences Po in Paris. As part of my studies, I took courses on urban planning strategies.

I’m relatively new to the UAE—I’ve been in Abu Dhabi for about a year now—and much of my work here is preserving the region’s heritage while integrating sustainable, modern infrastructure.

SC Atelier works with museums, galleries, and private collectors. How do their needs differ, and how do you adapt your approach accordingly?

Sahar: One major difference is timing. With museums and nonprofit institutions, a project might be discussed a year in advance, then go completely silent—only to suddenly become urgent, with everything needed immediately. With companies, the process is generally more predictable. I have more time to plan my schedule, organization, and logistics. But whatever the circumstances are, if a project is exciting, we want to jump on it quickly before someone else does. Another difference is cultural nuances. Working in different parts of the world means adapting to various ways of doing business and communicating.

Carl: I’d also add that Sahar has lived in the UAE for nearly twenty years, and knows the MENA region and the way of doing business here very well. She also has strong connections in the local art world, which is important since so much of business here thrives on relationships.

Now, I’d like to discuss the nuances of conserving different mediums. Which materials are the most challenging to preserve, and what makes them particularly difficult to work on?

Sahar: Restoring paintings is one of the most challenging tasks. It requires getting as close to the original as possible without over-intervening. It’s about working smart rather than working hard—rushing the process can cause more harm than good.

One of my favorite areas to work in is installations. They often involve a mix of materials, and it’s almost like solving a big puzzle—carefully taking pieces apart and putting them back together. A big part of my job is making sure everything arrives safely and providing clear instructions on how to set up or take down the installation.

Sahar, you've mentioned that you work with time-based mediums. What are the common challenges in this area?

Sahar: One of the main challenges in conservation is converting older formats into digital ones while keeping the original piece intact. Properly archiving materials takes time, but once they’re in a current digital format, they become much easier to access and preserve for the future. For example, right now, I’m working on a project with a foundation, preserving historical videos that capture the national identity of local families from VHS to MP4. I’m looking for affordable software to convert these recordings. My best practice for this would be to collaborate with artists, conservators, and technologists to ensure long-term viability.

When does contemporary art need conservation—10 years after it’s created, 50 years, or even sooner? What’s your take on this?

Sahar: It really depends on the artwork—where it’s been, how it’s stored, and whether it’s been kept properly. One big challenge I’ve noticed is that while artists and institutions do a good job displaying contemporary art, they often don’t know how to preserve it. I often get questions about how to store artworks properly to avoid constant conservation work or repeated condition checks.

How do you approach working with a private collector? Do you assess their collection as a one-time project, or is it more of a long-term advisory process?

Sahar: When working with a private collector, I like to start with an informal visit to get a sense of their needs. Some collectors want to preserve a few pieces, while others aim to document their entire collection. I take things step by step and stay flexible since priorities can change. A collector might start with plans to conserve 30 artworks and then decide to focus on just three—or the other way around. Good communication and flexibility are essential. I try to see things from their perspective to make sure I’m taking the right approach for their collection.

In your experience, do collectors usually display their collections at home or keep them in storage? How do they typically manage them?

Sahar: It varies. In the UAE, there are several specialized art storage facilities, including those on Saadiyat Island in Abu Dhabi. Some collectors prefer to display their pieces at home, and there are even amazing private house museums that many people don’t know about—even though they’re open to visitors. There are actually around 167 private house museums in the UAE, according to the Architectural Heritage Society. I first learned about many of them at the heritage conference last December.

What kind of art collections do you see in the UAE and the Middle East in general?

Sahar: The art scene here is incredibly diverse. You can find everything from European Old Masters—like Salvator Mundi by Leonardo da Vinci, which is part of the Saudi Royal Art Collection—to local contemporary art, which has really gained momentum over the past 15 years.
It’s hard to define the art in this region as just one style because each of the 21 countries in the Arab world, or the MENA region, has its own unique artistic voice. The variety is amazing, and it’s fascinating to see how each culture expresses itself through art.

What is the most rewarding part of your work?

Sahar: What we do is incredibly fulfilling—not just preserving today’s heritage but helping pass it down to future generations. That’s what gets me up in the morning.

Carl: This region is unique. The fine art market has grown rapidly in recent years, but there’s also a rich, centuries-old heritage that needs conservation. It’s a fascinating mix of international art coming in and local treasures that need protection. To me, it’s an exciting time to be involved.

Interview by Inna Logunova