The paper presents an interdisciplinary approach to the treatment of the FormaViva collection of wooden sculptures exhibited outdoors in a natural environment near the Božidar Jakac Art Museum in Kostanjevica na Krki in Slovenia. The study focuses on 3D graphic representations of sculptures created with photogrammetry and 3D modelling. The results are photorealistic renderings, interactive presentations, 3D printed reproductions, jewellery, and interpretive animations. The research results show that graphic documentation techniques on 3D models allow for a more detailed investigation of the original structural identity of the sculpture. By incorporating 3D and interactive technologies, we are expanding the usability of cultural heritage objects. By using interpretive techniques that have led to jewellery and interpretive animations in our research, we not only breathe new life into the sculptures, but also enrich the stories of the sculptures with our own experiences of the sculptural work.

Technology has become an important part of the conservator’s work, and we are still learning how to fully embrace it for a better practice. The main problem is lack of time for the treatment of cultural heritage and not enough knowledge in the field of technology. In this article we introduce the use of a virtual image to assist with the restoration of the painting Mater Dolorosa by a famous Slovene baroque painter Marko Layer. The painting’s complex conservation state indicated a need for a different approach when implementing procedures. Graphical documentation of the areas that needed to be removed and reintegrated was made for a transparent view of the upcoming work. To help with the removal and the reintegration process, a virtual image of the reintegrated painting and its options was made. The purpose was to get to know the painting’s specifications better. During the making of the virtual image, the painting was researched in detail in order to correctly apply the theory to practice.