A Day in the Life - Kamila M. Korbela
Just like our ‘collecting stories’ series, a day in the life aims to de-mystify the art world, highlighting real-life stories of a typical day.
Join us as we follow Los Angeles-based art conservator Kamila Korbela through a typical day of preserving and restoring artworks around the city.
Image: Kamila M. Korbela at LA Art Labs.
Kamila M. Korbela is an award-winning and accredited German Art Conservator for Paintings and Sculptures in Los Angeles with over 20 years of experience in the field of cultural heritage conservation. She successfully completed graduate studies in Art Conservation and held positions at the Los Angeles County Museum of Art, the Balboa Art Conservation Center, the National Gallery of Denmark and the German government to name a few. Kamila has published her work and research in national and international peer-reviewed journals, conference proceedings, and books.
While Kamila continues to serve Los Angeles, she expanded her professional portfolio to provide museum-quality conservation services to individuals and other institutions worldwide through LA Art Labs.
How do you like to begin your day? Do you have a morning routine to prepare for the work ahead?
My morning routine has taken a dramatic shift—from starting the day with yoga, Pilates, and dog walks to navigating the California fire aftermath, while also maintaining business as usual. Some mornings, I have recurring meetings for long-term projects in Asia and Europe starting around 6 or 7 a.m. On other days, I am diving straight into business matters.
What’s one thing you always make sure you have time for?
I am working on cultivating mindfulness in both my personal and professional life, which has been difficult with the recent workload; however, it is a welcome challenge for personal and professional growth. Recently, my colleagues at the Getty hosted a mindfulness workshop that I was invited to participate in, and I’m thrilled to see mindfulness practices gaining recognition within the conservation community.
Coffee, tea, or natural energy?
I really love hot Matcha Lattes with Oat Milk and a dash of honey, no matter how hot the Californian summer is.
How do you spend your commute to the LA Art Labs? Podcasts, music, catching up on phone calls, mental to do lists?
I plan the day with my employees, communicate with clients or other collaborators; I place orders or facilitate things! Sometimes, I simply drive in silence, letting my thoughts come and go as I take in the city I love so deeply; just being here fills me with so much gratitude.
Image: Kamila places newly applied paint samples in a radiation chamber under UVA and UVB radiation to artificially age them. Courtesy Irfan Khan / Los Angeles Times.
What’s at the top of your to-do list today?
The devastating LA fires have made it essential for me to prioritize disaster recovery efforts for my clients. Listening to their stories, understanding their losses, and visiting their damaged properties with them has been emotionally heavy. It’s heartbreaking to witness the impact on their lives and cherished collections. However, I’m deeply grateful to have the opportunity to assist, providing guidance and support during such a challenging time. Being able to help restore what holds meaning for my clients is both humbling and rewarding, despite the weight it carries.
What are some strategies you use when managing multiple projects and clients at the same time?
Besides software solutions, number systems and post its, I’ve developed an internal management system that allows me to track each project while staying deeply connected to my clients and their collections. Oftentimes, I really depend on knowing my clients and the narratives surrounding their works—it helps me understand complexities and make informed conservation decisions when I have the full picture. Each client has such a unique story, and their art often serves as a fascinating reflection of an important part of their former or current self. That personal connection makes my work all the more meaningful.
Tell us about some of your favorite aspects of your job?
One of my favorite aspects of my job is mentorship—seeing emerging conservation professionals grow and take next steps in their careers. A perfect example is Jenna Rheinhardt, who is now headed to The Courtauld Institute of Art for a Master’s Degree in the Conservation of Easel Painting. Watching her develop her skills, confidence, and passion for the field over the past three years has been incredibly rewarding. Guiding talented individuals like her, sharing knowledge, and fostering their potential is one of the most fulfilling parts of what I do. It’s exciting to know that the next generation of conservators is carrying forward this work with dedication and fresh perspectives.
Image: LA Art Labs with the Los Angeles County Department of Arts and Culture working on the Richard Haro mural “Among the Valiant” at Salazar Park in East Los Angeles.
What’s your go-to spot for an offsite working lunch?
Definitely the Brentwood Country Mart—it’s the perfect spot for an offsite working lunch, especially given its proximity to one of our main onsite locations in the Palisades. It has a great mix of casual but high-quality food options, and the atmosphere is just right for a productive yet relaxed meeting. Plus, it’s always nice to take a breather in a space with a bit of character!
Image: Kamila with the Bengal Foundation’s conservator team.
Your work has taken you across the globe. Can you share a memorable experience from abroad and how it’s shaped your approach to conservation?
One of the most memorable experiences from my work abroad was teaching conservation in Bangladesh as part of the S. M. Sultan Conservation Project, sponsored by the U.S. Ambassadors Fund for Cultural Preservation. Being able to mentor and train emerging professionals in a region where conservation resources are limited was both humbling and deeply rewarding. This experience reinforced my belief in the power of knowledge-sharing—not just for individual growth but as a way to provide lasting value to a community. Art and cultural heritage hold profound significance in Bangladesh, and equipping local professionals with conservation skills meant contributing to the long-term preservation of their history.
You have worked with an impressive variety of collections and works of art. Is there a project or artwork that has left the most lasting impression on you? And why?
In my mid-20s, as an emerging conservation professional, I conducted extensive research on selected paintings by Edvard Munch, focusing on works across Copenhagen, Berlin, and Oslo. My mentor and head of the Conservation Department, Prof. Dr. Jørgen Wadum, asked me which project I wanted to take on, and I proposed working with these remarkable paintings. This project involved both hands-on conservation treatment and in-depth archival research. I had the opportunity to present my findings at an international conference, engaging with esteemed colleagues from around the world. The research ultimately led to a peer-reviewed publication, offering new insights into Munch’s work and his broader artistic context. As a young professional, the experience pushed me far beyond my comfort zone—I still vividly remember breaking down in tears to my former colleague Meghan Mohagan at a cafe while we were in Amsterdam for a Van Gogh conference, overwhelmed with nerves. In the end, everything went well, but at the time, I was absolutely terrified!
Is there a particular artist, artwork, or project that you would consider a “dream project” to conserve?
I feel incredibly fortunate—almost spoiled, really—to have worked on so many dream projects throughout my career. From historic masterpieces to contemporary masterworks. That said, I see my next “dream project” as more of a long-term goal. While I have a Master’s Degree in Conservation, I’d love to pursue my Ph.D. in my 40s or 50s, diving deeper into research that could contribute to the field in a meaningful way. Conservation is constantly evolving, and I want to continue pushing boundaries, exploring new methodologies, and mentoring the next generation of conservators along the way.
As a business owner, how do you switch off from work at the end of the day?
How do you decompress?
Managing the increasing demand for conservation services has been challenging, which is why I’ve been bringing in highly esteemed colleagues from Russia, Canada, Spain and Iran to assist temporarily or long term and to help balance the workload. To decompress, I turn to physical exercise or quality time with loved ones. I also enjoy immersing myself in art, culture, and anything that sparks my curiosity.
What current or upcoming project(s) are you most excited about, and what make them particularly special for you?
There’s so much to be excited about right now! We’re working on a beautiful Mary Cassatt piece from a distinguished collector, along with remarkable works by Basquiat , Warhol, and Lichtenstein—all interconnected in their artistic origins, making them especially meaningful.
Another truly exciting project is the conservation of the side altar at St. Vincent de Paul Roman Catholic Church in South Los Angeles, for which we are still actively raising funds. Preserving the Shrine of the Miraculous Medal at St. Vincent de Paul is more than just a conservation effort—it is an act of deep reverence and devotion. This work allows my team and I to honor the site’s historical, spiritual, and artistic significance, ensuring its legacy endures for future generations.
Image: Kamila M. Korbela treating a panel painting by Stefan Lochner in Germany.
What is the best piece of advice that you have been given, either personally or professionally?
Throughout my career, I’ve been fortunate to have incredible mentors who have shared invaluable wisdom with me. One of the most profound pieces of advice came from my esteemed mentor, Dr. Felix Müller, whom I deeply admire. He taught me the importance of slowing down enough to truly see the full picture—an insight that applies not only to every conservation endeavor but also to life itself.
Any conservation advice for those who are just beginning their art collection journey?
I would love to encourage new collectors to learn more about their collection and understand the specific vulnerabilities of the artworks in their care, particularly in terms of storage, exhibition and handling. Contemporary surfaces, in particular, can be highly sensitive and easily compromised. A common protective measure is glazing paintings or placing objects in display cases to enhance their safety. However, I also recognize that these solutions can alter the aesthetic experience of the works and their immediate impact. Having the opportunity to discuss these aspects of collection care is so important and setting the right tone from the get-go really an invaluable advantage.
Connect with collection care professionals like the fantastic team at CURA Art, and work with conservators like my team and me!
Investing in expert guidance can help you build a sustainable collection and preserve your legacy for generations to come.