Behind the Scenes introduces museum professionals whose crucial work often goes unnoticed by the public. From conservation to collection care, these behind-the-scenes roles are vital to how art is preserved, understood, and experienced.

Conservator Nina Broadstreet reveals the hidden lives of artworks through her expertise in painting conservation. After a career shift from the energy sector, she now devotes herself to restoring and safeguarding oil paintings, tempera works, and gilded surfaces—making sure that each piece continues to speak to future generations.

Mia Dillemuth: Could you tell us a bit about your background and career path? How did you become a conservator?

Nina Broadstreet: I have a previous degree and ten years of experience in the energy sector, but in 2007 I started to feel that I wanted a completely different career. Art has always been important to me, so art conservation seemed like a natural and fascinating direction. I had to wait a year before I could apply to the painting conservation program at Metropolia University of Applied Sciences. I got in, completed my studies, and graduated in 2012—so I’ve now worked as a conservator for 13 years.

MD: What types of artworks do you specialize in? What kind of work do you do for the Kirpilä Art Collection?

NB: I specialize mainly in paintings on canvas and wood. I also carry out collection inventories and condition assessments—like the one currently underway at the Kirpilä Art Collection. In these assessments, I examine the condition of each artwork, document any damage, and make a preliminary evaluation of the conservation needs for each piece.

MD: How do you prioritize which works are treated first in large collections?

NB: As a conservator, the condition of the piece is my top priority. For example, a torn canvas or flaking paint requires urgent attention, whereas a yellowed varnish might be visually disturbing but doesn’t yet pose a threat to the artwork’s preservation. Of course, the collection owner’s perspective also plays a role. If a piece is scheduled for exhibition or is particularly central to the collection, it may be prioritized over a less prominent work.

MD: How important is understanding the artist’s original technique and historical context in the conservation process?

NB: It’s absolutely essential. Knowing which materials and techniques were used in different periods—and how they age and react—allows me to plan the conservation process and select the most appropriate and safe methods and materials.

MD: How much of your work focuses on preventive conservation compared to actual damage repair?

NB: Since I work as an independent conservator and most of my clients are private individuals, my work focuses mainly on treating existing damage. Cleaning paintings is the most common procedure I perform. However, I do emphasize preventive care as well—by advising clients on how to handle and display their artworks properly.

MD: What painting techniques do you encounter most often in your work?

NB: Most of the pieces I conserve are oil paintings on canvas. I also see some works on wood, cardboard, or board, as well as acrylic paintings. Tempera and gilded surfaces appear in icons and older wooden sculptures. Watercolors and gouaches on paper, however, fall under the domain of a paper conservator.
MD: How do the materials in older paintings affect the conservation methods used?

NB: The traditional materials used in older paintings are generally well-known, and the conservation methods for them are well established. This often makes the treatment more straightforward. With newer artworks, materials can be more experimental and may require more investigation. But even old works can be full of surprises!

MD: How do you determine how much of the original artwork can or should be restored?

NB: Restoration aims to reestablish the visual unity of a work so that damage no longer distracts from its overall reading. The intervention should be limited to the damaged areas and never cover the original surface. Everything must also be reversible and distinguishable—for example, under UV light.

MD: What ethical principles guide your conservation work?

NB: I’m a member of the Finnish section of the Nordic Association of Conservators and committed to following the guidelines of E.C.C.O. (European Confederation of Conservator-Restorers’ Organisations). These set out the ethical principles, responsibilities, and professional conduct for conservators.

MD: What has been the most challenging conservation project you’ve done—and why?

NB: Surprisingly, it was a small piece. A few years ago, I restored a small icon where some paint had flaked off the Virgin Mary’s face. The rest of the surface was perfectly smooth, and although I matched the colors, the retouched areas stood out due to their texture. I had to redo them several times, and only the eighth attempt achieved the desired result. I later applied the same technique to other works—so the experience turned out to be very valuable.

MD: What part of the conservation process is most personally rewarding for you?

NB: It’s hard to name just one, because the work is fulfilling on many levels. It’s deeply satisfying to see the result of your own hands and know you’ve helped an artwork survive into the future. Clients’ joy and gratitude when they receive a beloved piece back in good condition is also very meaningful. And the constant learning and problem-solving make this work endlessly interesting.