Craig Kerrecoe talks to Lynsey Storer about precision, making it big and Uganda...
LS: I was making paintings of lights beforehand with the reflective mirrors that create patterns. I realised that I was, in effect, trying to recreate light but was struggling to make the flourescent tubes look like light. By placing black against white, I realise that I was trying to mimic light and that the visual effect was what I was trying to achieve.
CK: What made you first try Op Art?
LS: I made a transition to abstract/optical Art after constantly visiting galleries and seeing badly executed paintings. I decided that it would be more skillful to paint straight lines, so I started to perfect the art!
CK: Is it something about the precision of this work? Is this a way of imposing control over something?
LS: The precision, or at least the attempt at precision, is about going back to basics, pure skill. I methodically work out each piece before making paintings of them. It's not really about having control over something- I suppose control of my breathing and achieving total emmersion so that I paint better! If I wanted total control I suppose that I would use masking tape.
CK: But you don't use masking tape- because you want to paint better, you want to be more skillful? It's as though you are challenging yourself with these paintings, proving something to yourself.
CK: It's interesting that you also produce pure abstracts too. Is that the antidote to all this precision?
LS: No, I don't think so. The pure abstracts are still explorations of light on a surface using paint. The optical painting I am slaving over at the moment may, possibly, be my last optical piece as I am becoming more interested in the 'light series' paintings.
CK: You work on some fairly large canvases Lynsey. Some artists might be intimidated by such scale- not you?
LS: I am fearful of nothing in the way of art- it's all an experiment and if it doesn't work I will try again! I've just worked solidly for two days and have completed a meter square painting. In 2001 I had to have two back operations to remove a ruptured disc which was trapping my left side. The large scale work can be a problem- sitting and monitoring my breathing can be meditative, but it's still painful.
CK: A little fearlessness can go a long way. Is it necessary for an artist to be fearless do you think?
LS: I think if you are going to stay in the game and go the whole nine yards to make it, you have got to be fearless and prepared to change, if necessary. I would like to make it big!
CK: That's interesting Lynsey- so what is your idea of 'making it big'? What's the ideal?
LS: To get big shows in London, in Cork Street- to make a name for myself more than I've already done. I would like a solo show in the metropolis rather than the periphary. Studying Art History made me more aware of this (exhibiting in Central London) over ten years ago and I have been working towards this ever since.
CK: How's it going?
LS: I'm getting there. I'll soon be showing alongside Lelia Pissarro again at her new studio in Chiswick.
CK: Tell me how you got involved with the Ugandan project.
LS: I took time out to write my Thesis for the MEd I was doing at the time and I found myself in a position where I could travel with my best friend on a trip which was organised by David Odwar, a Ugandan refugee who sought asylum in UK over 20 years ago. He wanted to take a team of artists, photographers and film makers to the place where he was born Gulu, Northern Uganda. A team was set up and I was on the waiting list.
CK: And you were selected to be part of the team?
LS: Well, the UN declared the place an official war zone in that year so, in the end, all but my friend, the artist Helen Foster, and myself travelled with David.
LS: We taught in schools and I took 11 rolls of film, black and white, sepia and colour and documented the entire journey. All but 10 shots out of the 11 rolls were very good photos, so I made four photo books and had four photos developed up to A1. Those four photos are currently exhibited at the Watermans Art Centre in Brentford.
CK: On your return you decided to help with fundraising for the art centre?
LS: Yes. The TAKS art centre (Through Art Keep Smiling) is now led by my good friend David Odwar.
CK: How did the experience affect you?
LS: Seeing the suffering and poverty led me to work very hard at a new job I had then as the Head of Art at an independent school in London. Helen and I compiled a DVD of my photos and her words. I posted the DVD with hand written letters to all the artists and craftspeople I could find addresses for. Lots of people were very supportive of the work we were doing and sent work for the auction. It was at this time that I first met Lelia Pissarro- a person who I became very good friends with.
CK: And what of the future Lynsey?
LS: I have lots of things set up and lots to do. Along with being the Head of Art for my school and an avid traveller, I visit as many galleries and museums as possible. I have a mass of sketchbooks where I record anything I see, in a realistic way. I am a coal miner's daugher and my mother worked in a knitwear factory. I am very grateful to them for allowing me to pursue a career in Art. My Mother said that I had to have a profession alongside the art. I thouroughly enjoy teaching and have been very fortunate in the fact that I have worked hard and achieved most of what I have set out to do. My Mum and Dad have suported me throughout in the best ways they could and I am very grateful for their support. Getting over the back operations and back to higher profile jobs and getting my work exhibited is all part of proving to myself and others that I can still do it. Trying to increase the profile of my work is my current ambition. I am still in constant pain and have been registered as disabled. I think all of this makes me more determined.
