Raine Storey is a Canadian visual artist based in London, England. Storey’s work combines her Fine Art and Art History degree with her ‘higher education’ at the ‘school of hard knocks’. It is the latter that led her examination into why she creates. Storey aims to contribute to the renewed identity of raw materials. The artwork recycles and preserves historic waste, including London’s House of Parliament restoration, to place back on the walls. Instagram: @artbyrainestorey
Preservation, Parliament | Project Statement
In her ongoing work in progress, Raine Storey delves into the intricate interplay between the resilience and delicacy inherent in art. Exploring the diverse capacities of art to bear weight and find freedom when aligned with the fundamental conditions of its existence, Storey allows the evolving pieces to take on fluid and liberated forms.
Confronting the nuanced complexities of cultural organisations, Storey acknowledges the unavoidable moral consciousness these entities grapple with. The crux of resilience emerges when metaphorical or physical 'walls' collapse, providing her with an opportunity to rebuild and ascend from the uncertainties that arise.
Thematically anchored in the concepts of walls, structure, stone, and painting, each stroke and layer in Storey's creation reflects a deliberate effort to carve a niche in the annals of history—an innate human desire to leave an indelible mark on the world.
Drawing inspiration from the timeless quality inherent in ancient cave paintings, especially those featuring hand imprints in stone pigment, Storey emphasises the symbiotic relationship between great paintings and contemporary reality, positing that art deeply rooted in its temporal context becomes the most timeless expression.
Through the meticulous translation of her imagination into pigment by hand, this ongoing project seeks to unveil the intrinsic connection between art and its temporal surroundings. Navigating the intricacies of creation, shaping a visual dialogue that transcends temporal boundaries, weaving together past, present, and future into a narrative that resonates with the enduring essence of art.
First, tell us a little about your background and story. How did you develop into the artist you are today? What training or experiences help you along this path?
My maternal grandfather and paternal grandmother were talented artists outside their careers. Therefore, I was fortunate to grow up around materials and encouragement to create. Over the years, I had teachers who provided unique opportunities to grow. For example, in kindergarten, the graduates of my school had an art show in the gymnasium where my teacher left me to stay as long as I wanted. In grade two, I painted the school play backgrounds with the graduates. These moments were developmental, as well as the discouragement I received. I had a professor in university who told me that I shouldn't have come to this institution and that my artwork was pointless, as it resembled a photograph, and therefore, I should take up photography instead. I loved this because I could use each critique to grow or stand firm and double down. I doubled down.
How would you define yourself as an artist nowadays? And how did your art evolve over the years?
You often hear that the artist should have a style without the signature attached, but I don't agree. My work has developed and changed with each experience I've had. The work has evolved from realism when I was younger, wanting to show a direct comparison to the world around me to where I am now, which is more of a facilitator than a manipulator of raw materials. I think this allows the viewer their own interpretation of the works.
You studied Art History. How does it help you in your work as a visual artist? Does it influence your current practice?
In Art History, I studied the old masters, which taught me that we build to exist in a tiny slice of history because the desire to make a mark on the world is completely universal. Cave paintings with hand imprints out of stone pigment show that many great paintings have contemporary reality as part of their lifeblood. I want to create something with meaning that will preserve particular moments in our lifetime.
Speaking of your work, how do you characterize your art? And how did you develop this style?
My style was realistic during my studies of the Old Masters. I found myself emulating their techniques until I was confident with my ability to translate what I could see. Following my move to London, I went against my training to experiment with abstraction in the studio, which was my biggest battle because there were no rules to follow anymore. I had complete control of colour, composition, and when to stop. It was a constant confrontation at the easel of myself. These two styles merged by adding layers of suggested imagery hidden within the abstraction.
What is the ultimate message you want to communicate to the viewers?
The ultimate message I want to convey to viewers is the transformative power of resilience and the preservation of meaningful moments. My art is a continuation of my journey, blending realism with abstraction, using various mediums to create artwork that capture the essence of time and place.
Tell us more about your work in progress, preservation, and parliament. What is the main concept? And how are you working on it?
In the last year I have been questioning why I create, outside of my enjoyment and career. Bigger picture. Therefore, the launch of the parliament piece is the beginning of my mission to preserve the waste material from historic restorations and place them back on the walls. The recycled material from the House of Commons creates the plaster within the piece because it is when these 'walls fall down' physically or metaphorically that we create a resilience to rebuild and climb from the uncertainty.
What mediums and techniques are you using? And what do they represent for you?
I am using oil paint, clay, stone, and plaster. The newest addition to my practice is ceramics. Since ceramics is one of the oldest known forms of art and human record, it is an important element in the works. Historically, the clay in each object was unique to the location it was made, and the decoration reflected the culture that created it, as well as the society that lived on that soil. Each piece of pottery reflects a fingerprint of a particular time and place. My organically formed climbing handles keep my handprints and grip into the work to record an act of reaching upward and pulling yourself from one's current position.
How does this project insert into your previous production? Is this a continuation or something completely new?
This project and the pieces coming are a continuation of everything I have done. With both sports and art, I have played with anything I could get my hands on all my life. When you throw away an old playbook, you still keep the skills you've learnt, so nothing is without some muscle memory. This gives an advantage if you are relaxed and concentrated. If you concentrate without being relaxed, you are just stiff, and if you are relaxed without concentrating, you are all over the place. However, when both happen at once you are master of time and space and you are in control. Sports call it being in the zone. Whether a match or ceramics, you can control so much, but you can't control everything – that's what makes it interesting. I understand the work won't be for everyone, I don't want everyone to like it, if I came onto the volleyball court and the opposition loved me – I would be doing something wrong. That's quite a rant, eh?
Speaking of new, what are you working on now? Do you have any new projects you would like to share with our readers?
I am continuing to work with listed properties of national, architectural, or historical importance to recycle the building's waste materials and restore them into artworks that can, ideally, be held within institutions accessible to the public. My next piece will use materials from the German Embassy in London, a grade II listed building with the most beautifully coloured plaster and stone.
And finally, where can we see you next? Do you have any upcoming exhibitions, publications, or shows?
My project is ongoing for the time being, therefore, I am completely studio focused into next year. Then I will find the right space around the work to show.
Fight or Flight, Oil, charcoal, marble dust, volcanic ash on linen, 90x180 cm, 2023 © Raine Storey
