My work usually has an aspect of implied history, both through the use
of the figure as well as objects that are a part of my "home"
collections. The figures have a tendency to be slightly off balance, or
passing from one reality to another. The absurd is of great interest,
usually through the use of unconscious motivations. The figures can fill
the landscape, either in a psychic way or in ways that are above
gravity-pulled orientations. In using an imagined format of the surreal,
I am able to work a more unreal world of fantasy. It does always seem to
fantasy to me. There is oftentimes an attempt at an unrealized form of
danger, close, in fact, to the real world...an emotional, sometimes
physical precariousness. It seems to be a way of seeking clarity and
identity through a parallel of sense of isolation. After all, I work
alone in my studio almost every day.
I usually start my work by marking
the surface of the painting, adding more and more, then peeling away the
surface to the first marks. It seems a metaphor of one's own life, as
the future becomes enmeshed with the past.
Most of the time I enter my
studio with an agenda, but then something happens, and I let the
painting take me on its own journey. To be surprised while painting is
the real experience, the reason to keep on doing the work. I have
objects, bits and pieces, images cut from a myriad of sources and
whatever I can collect that inform my work, or sometimes I actually
attach materials of some kind to the surface of the painting. It is a
way of going shopping every time I am in the studio. And artists love to
shop in whatever form that activity can take.
We are all like blotters.
I am a blotter, absorbing all the different aspects of what I
experience. Painting is evolutionary, and a grand experience.
Inez Storer
Inverness, California
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