Niloufar Lovegrove

Niloufar Lovegrove, originally from Iran, is a printmaker and visual artist based in central Queensland, living on Darumbal land. Her work blends contemporary themes with mythological Persian narratives, aiming to transcend cultural boundaries and explore shared human experiences. Her contribution to large-scale public art demonstrates her dedication to connecting with diverse audiences. 

Lovegrove has exhibited widely in her region, where she has been awarded the prestigious Bayton Award. Her recent ventures beyond the region have led to her successful shortlisting in National Works on Paper (NWOP), as well as winning the renowned Burnie Print Prize. These accomplishments further establish her as an influential voice in Australian printmaking. Her contemplative approach to the medium strikes a balance between craftsmanship and visual storytelling. 

Following a successful solo exhibition at Artspace Mackay, which led to the acquisition of her smaller installation by Artbank, Lovegrove is currently working on a new body of work for her upcoming solo exhibition at Creative Whitehorse. 

Tell us about your creative process. What drives your practice? 

Creating art is a personal necessity for me, a way to process and understand the world. Working with lino in printmaking is generally not a spontaneous process; it requires an intentional approach, as the medium demands a kind of black-and-white decisiveness. I begin by exploring the theme through reading, listening to podcasts, and studying related motifs, which helps me craft my own narrative within the topic. 

Then comes the playfulness of selecting the paper as the landscape of my narrative – as you’d need to know the dimensions of your paper before carving – and then begins the meditative process of carving. This stage allows further contemplation, when new details often come to mind, adding layers to the story – this is where the spontaneity of the work emerges. 

My artwork serves as a method for navigating the issues that matter most to me. It helps me understand the world around me, bridging my cultural roots with the modern world. Ultimately, I hope my work creates a space that offers viewers a familiar yet profound experience. 

 Your recent multi-panel prints have pushed the scale of works on paper. What has drawn you to create such large installations? 

My background in communication arts with a major in graphic design has significantly influenced my approach to large-scale works. As a graphic designer, I was accustomed to working with precise shapes and forms on projects like packaging, book covers, and signage.  

I have a deep appreciation for large-scale work and have been fortunate to complete a few murals in Central Queensland. Energised by the opportunity to exhibit at the stunning Artspace Mackay Gallery and inspired by the environmental issues we’ve experienced across Australia, I wanted to push my boundaries with this installation. 

I think a solo exhibition is an opportunity to view the space itself as my canvas, and the overall composition and arrangement within that space are crucial to me. The gallery’s high-ceilinged room, painted entirely in a deep, dark blue, offered an ideal setting for a narrative, unframed, and immersive display. 

Creating these large installations has also been a kind of defiance against the limitations of my home studio, where I work around the demands of being a mother and managing domestic responsibilities. For this specific installation, which consists of 54 panels, I had to kneel on my kitchen floor to ink and hand-press a 2-meter figure onto paper, and I even used lines stretched across my home as drying racks. The process was challenging and unconventional, yet it felt empowering to bring my vision to life under these conditions. Some days, it truly felt like small miracles helped the project come together. 

 Can you tell us more about visual language and storytelling in your practice? 

The visual language and storytelling in my work are deeply rooted in Persian symbolism and narratives, which serve as the core of every piece, regardless of the theme. Growing up surrounded by art, historical tales, and quality theatre, I was profoundly influenced by these elements, leaving a lasting impact on my practice. 

For me, Persian literature has a unique ability to explore profound and complex themes with a wisdom that seems to view every aspect of a story in a balanced, compassionate way. There is often a strong inclination toward idealism, depicting a heavenly, perfect world; a paradise of sorts. 

These cultural qualities shape my approach, helping me bridge my heritage, personal experiences, and the themes I explore. I aim to balance the contemporary with the traditional, through the technique and narrative that resonate with a modern audience of any age and cultural background. I believe that reimagining current issues through a unique visual language opens new perspectives, inviting people to engage with the topic in an unexpected way. 

For example, in my piece ‘Equable Goddess’, the initial encounter might not immediately suggest its connection to environmental concerns or the natural disasters that have impacted Australia. Yet, as viewers engage with its story and perhaps read the artist statement, they begin to see the goddess as a symbol—one who, unlike ancient deities, seeks to create a peaceful, habitable world.  

 What is the significance of feminist protest and advocacy in your work? 

My recent works have been deeply inspired by the unfolding events in my home country, Iran, and the incredible bravery of women there. The strength and resilience of these women are not only inspiring to witness, but also crucial to be acknowledged and echoed. 

For example, my piece for the Bayton Award, a papier-mâché sculpture of a Setar (a traditional Persian instrument) leaning on a woman’s braided hair, which also forms the instrument’s strings, was a direct reference to the 'Women, Life, Freedom' movement in Iran. This was followed by ‘Red Uprising’, which depicts the bravery of women dancing in public, moving forward in their fight, surrounded by a sky filled with hopeful clouds. Although these works were directly inspired by a specific protest, their message resonates universally with the voices of women fighting for their rights worldwide. 

At the same time, my work is not solely focused on women’s issues, as I find other important topics worth exploring. I aim to share my perspective as a woman, while hoping for a world that is equitable for all, including my son, who will grow up in it. 

Are there any female printmakers | artists that influence you?

In direct connection with the artists around me – many of whom may not be widely recognised – I find that their creative spirits embody the essence of exhibitions like Know My Name at the National Gallery of Australia. In this context, I would name Peta Lloyd, who inspires me with her quiet bravery in choosing playful yet grounded narratives across a wide range of mediums. Veronika Zeil, as she creates unexpected pieces filled with charm that capture a raw, unpolished reality through various techniques. Recently, the Rockhampton Museum of Art engaged local artists in an exhibition responding to their extensive collection, and I was filled with admiration at how each artist shone when given the opportunity of a larger gallery spotlight. 

Beyond my region, I am profoundly moved by G.W. Bot’s works, especially her linocuts and artist books, which I can immerse myself in endlessly. Elizabeth Banfield’s gentle, layered prints feel like music for the soul. Vera Zulumovski’s prints invoke a sense of motion through their longing, which I find deeply satisfying. I’m going to name two more inspiring storytellers who are both in America: Arghavan Khosravi and Rupy Tut; both have their own unique visual language.

Finally, what exciting projects are you working on at the moment? 

I’m currently preparing for a solo show at Whitehorse Artspace in Melbourne, which opens on International Women’s Day next year. Titled Cypress Growing Season, the exhibition is a tribute to women whose resilience and vision transcend their unjust suffering. It draws inspiration from a line by a groundbreaking Iranian modernist poet who defied traditional norms, Forugh Farrokhzad: 'I will plant my hands in the garden; they will grow, I know.' I've already met curator Margueritte Brown during a group exhibition this past July, and we’re now collaborating on the installation of works on paper and some sculptural pieces. 

Additionally, I’ve been finalising a project for the Rockhampton Museum of Art, set to be revealed soon. Created for the visitor activity space during the Know My Name traveling exhibition, this project allowed me to reconnect with my graphic design roots. I designed a series of repeating tiles inspired by Persian motifs, which children will color and place on a wall panel to form a Tree of Life.