Rachel Dein is a London based artist who studied Fine Art at Middlesex University. After discovering a basic form of casting whilst studying, she decided to combine her love of plants and sculpture and began to create beautiful castings of flowers and plants. I was fascinated by these beautiful pieces of art and wanted to find out a bit more about what inspired Rachel and how she goes about creating them.

How did you get started on your creative journey?

When I was at art college I came across this very basic form of reproduction (casting) when doing a class in glass blowing. We were told to press shapes into wet sand into which we then poured the molten glass. I went back to our college studio and started experimenting with pressing things into clay and then pouring plaster onto the clay to make pieces of sculpture. I was amazed and fascinated at the detail achieved yet the simplicity of the process. After college I rented a space in Spitalfields Market for a few months to carry on making artwork, and then I was lucky enough to get a prop making apprenticeship at the English National Opera. This was the beginning of my prop making career, which I loved, and it developed my knowledge of casting, mould making and other techniques. I stopped being a prop maker when my second child came.

When my youngest child started school, having turned our loft in North London into a studio, I began to make small tiles from home and established Tactile Studio. The local church put a call out for creative people in the area to show their work. A gallery saw my tiles there, and invited me to exhibit with them. That Summer I’d taken a stall at London’s Dandy Lion Market where I met a lady who bought a small tile. She commissioned me to make four large tiles using the favourite things that she and her husband and their children had chosen.

At that time I had been in to Moyses Stevens, the very elegant long-established flower shop that had recently opened a branch at the bottom of our road. I wanted to buy the same type of flowers that I’d had in my wedding bouquet 6 years earlier. At the counter I told the manager that I was an artist, and I planned to cast the flowers. She was intrigued, and asked if I could come in once I’d made the tile, to show her senior manager. Once completed, I went back with the tile, and mentioned that I’d love to be able to cast the bouquets for brides. They both said there had been many times when brides-to-be had asked about preserving their wedding bouquet. Since then, largely through word of mouth, I’ve been commissioned to make wedding flower tiles.

In 2013 a friend took me to Chelsea Flower Show, impressed by the artisan huts I decided to apply to have a stand for the following year. 2014 was my first Chelsea show and a great success. I've been doing it ever since, and it's a highlight of my year. Starting with an article in the American blog Remodelista in 2012, then a feature in Gardens Illustrated in 2014, images of my work have been circulating on the internet. From these I've been approached by designers. It was the Rose Murray at These White Walls that contacted me to make the work for Hide. This beautiful restaurant has probably been my best calling card.

What is the process for creating one of your pieces?

Initially choosing the plants, this is very important as the way a plant flows is really important for me. Rolling out the clay and getting it as flat as possible. Deciding a bit before on the composition, but basically arranging immediately as I go along.

How long does each piece take to create?

This is an impossible question! It depends on the size of the piece and the complexity of the composition. A lot of time is spent once the panel has been cast on getting the background beautifully smooth.

Where do you get your inspiration from?

Largely from nature. But I'm very excited by going to exhibitions, museums, art galleries, architecture and interior design. I feel my work belongs nicely in the Arts and Crafts movement, and it's like a continuation of the genre.

What has been your most challenging job?

When I was asked to create a ceiling to be sent to the USA. it was made up of 18 large panels. This required some research into the best type of plaster, to keep it light yet strong. Shipping was also a challenge as this was a first to transport so many large and delicate panels. Since then I've made my longest panels to date at nearly 2 meters.

What exciting work or commissions can we look forward to from you in the year ahead?

I've just started work for a National Trust property in Yorkshire, Nunnington Hall. I will be casting the plants from the beautiful garden throughout 2022 and there will be an exhibition in 2023. I'm also working on various commissions including for a central London hotel.

What is your vision for Rachel Dein?

To carry on working on exciting projects. Experimenting with new materials, in particular glass and metal would be amazing.