A Q+A with Kirsten: Unraveling the Imagination

Kirsten Lovelock’s paintings invite us into a world where symbolism and surrealism intertwine, offering glimpses of both personal and universal narratives. With a practice spanning over two decades, her work is rich in intuitive expression, layered meanings, and emotional depth. In this interview, Lovelock shares her thoughts on artistic freedom, process, and what it means to be part of this upcoming exhibition.

Your work blends symbolist and surrealist traditions with a dreamlike quality. What draws you to these styles?

Art for me is about imaginative expression. I am drawn to these styles because they require an intuitive response, rather than an evaluation of whether or not the depict ‘reality’ well. When I am painting I am channeling that imaginative part of my brain, when I look at symbolist and surreal art I am doing the same, I am not looking for a rational answer to the depiction.  Simply, put I really like symbolist and surrealist art and how it makes me feel – I feel the same way when I paint and have since I was a child.

You’ve mentioned your works evolve inductively, often without a clear plan at the start. How does this intuitive approach impact your process and the final result?

For me this approach is freedom and I am rarely worried about having a blank canvas as I know something will happen. Sometimes I think when stepping back from the work, oh gosh not so sure about that, but after a break I come back to it with fresh eyes and it usually moves forward to what I think is completion. I know others plan their work and grid their preparation and transfer to the canvas, that approach is not for me. Art provides for me what my working life does not, a freedom to express myself how ever I like. I very dear colleague of mine once said to me “Oh I’ll have a look at your art, but cant say I will like it” and I said to him “well that doesn't really worry me, because I don't paint for you”. I think all creative endeavours are intrinsically personal.

Your art is described as biographical yet open to interpretation. How do you balance personal meaning while inviting the viewer’s imagination?

The choice of style, the colours, the subject matter and the expression is never outside of the biographic, all of these choices are shaped by life experiences and the era that we live in. I paint and for me I don't always see the meaning in it until the painting process is over. I don't consciously choose symbols for my work, but we are all surrounded by symbols and the meaning we attribute to them everyday. So I might say to you, I think this painting has been shaped by x, y and z and I can see images that are from my subconscious that are clearly also from my life experiences. You may have similar experiences, will also know the symbolic meaning of things intrinsically and it would be strange if you didn't apply that lens to my work and come up with your own explanation. I am very happy if people do, it makes the whole engagement more meaningful. I think this is why explaining a painting is difficult – it makes the meaning to set for both the artist and the viewer. I think Bacon said something along the lines of if I wanted to explain in words I would have written about it, to explain in words defeats the purpose of painting. I think this is a little harsh, but there is truth in what he said. The painting is the communication. 

You’ve been exhibiting for over two decades. How has your practice evolved during that time?

If I look at my early paintings I can see that I was in the process of arriving at my style of work. There are clear influences from naive art, outsider art, symbolist and surrealist work.  My work is often very flat – and I think this has probably been because I love pop art, collage and my socialisation coincides with the beginning of mass consumption in NZ. It is possibly also because my early experience of seeing the work of international artists was all through photographs of paintings in books. I have over the last 20 years painted in various styles – but I think you can still see that it is my work. Because I came to exhibiting work later in life I think I have been less concerned with judgement and more concerned with engaging in the creative process with no end outcome in mind.  By painting consistently over these decades my technical ability has improved considerably and I can see this when I compare work of this decade to work of the previous. Acrylic paints have also improved considerably in this time frame. I favour acrylic over oils because they dry quickly and when I am in the zone I like to move quickly (inpatient). I also don't like the stickiness of oil paint.

What does it mean to you to be part of this exhibition, and what themes can we expect in your work?

I am very excited about being part of this show. I love the work of the other artists who will also be sharing their work. My works for this show are, on reflection, a real mix of experiences and outcomes over the last decade. While some have a slightly dark edge to them, ultimately the collection is about hope and resilience and owning life.

Opening Night: Thursday February 20, 5pm
Exhibition Duration: February 20 - March 8
Location: 182 Jervois Road, Herne Bay, Auckland