Searching through artifacts for source material is a way of accessing my process and painting procedure. This terrain informs my work which often leads me to return to my own history, which was filled with many persistent secrets and untold stories, the result of growing up in a household full of mystery…parents who came from Europe and wanted to erase and assimilate. Specifics were left out and my art making from my earliest memories was a way of making up my own visual stories.The use of collage, bits and pieces has also been a part of my palette. More recently I have been channeling selected artists who have been a part of my art family who act as a surround. Maybe it is a way of creating my own community…Matisse, Piero della Francesca, Robert Rauschenberg , Florine Stettheimer and the Russian poet, Anna Akhmatava have come into the pentimento of my painting history.
I often leave written clues through the use of words…a narrative, and/or my own text. Many years ago when this all started, I happened upon an abandoned house nearby which seemed to call for some investigation, (criminal tendencies). The owners apparently left everything behind when the place partially burned down many years prior. I did wait for a time before I embarked on a unique adventure to make sure that they did not return. Rain and certainly time had aged and stained what was inside; there were journals, photos, objects known and unknown, mementos, many reaching back to the mid-19th century. It was better than a flea market (artists often shop to help “kick start” their process). Here was an abundant gathering of collage material and amazing fuel for my ongoing studio practice.My constant hunts either flea marketing or other endeavors, helps to invent my own history. Making art is the evolutionary way to engage, from palette to paint to surface.
Inez Storer was born in Santa Monica, California. She studied at the Art Center in Los Angeles, the San Francisco Art Institute, The University of California at Berkeley and the San Francisco College for Women, ultimately receiving her B.A. from Dominican University, San Rafael, California (1970). She received her M.A. from the University of San Francisco. (1971).Storer’s work has been exhibited in solo exhibitions consistently throughout the United States as well as Europe. Some of the institutions are the Reno Museum of Art, the San Jose Museum of Art, the Monterey Museum of Art, the Hyde Park Art Center, Chicago, catalogue, the Missoula Museum of Art in Montana, the National Museum of Jewish History in Philadelphia, The National Museum of Women in the Arts, Washington, D.C., Yerba Buena Center for the Arts, catalogue, Falkirk Cultural Center, San Rafael, CA, Life Award, (Catalogue), (Distinguished Artist Award) the Fresno Museum of Art (Distinguished Woman Artist of the Year, catalogue. Her work has been included in numerous group exhibitions through the country. Storer has taught at the San Francisco Art Institute (1981 – 1999), Sonoma State University (1976 – 1988), San Francisco State University (1970-1973, University of Santa Cruz (Visiting Artist), University of California at Davis (Visiting Artist) and the College of Marin (1968-1973).
She has received numerous grants and awards, including a Pollock-Krasner Foundation grant in 1999, the Buck Fund Grant 1995, 2004, and has twice been an FAAR (Artist -in- Residence) at the American Academy in Rome (1996 and 1997. Her work is included in the permanent collections of the Fine Arts Museums of San Francisco, the Oakland Museum of Art, the Lannan Museum in Fort Worth, Texas, the San Jose Museum of Art, the de Saisset Museum of Art at Santa Clara, the Missoula Museum of Art, the De Rosa Foundation in Napa and the Fresno Museum of Art. Storer has two very large murals in the I.M.Pei Tower in Los Angeles known as the First Interstate World Center. Her work has been critically reviewed in many publications including Artforum, Art in America and Artweek.Storer lives in Inverness, California and maintains a studio in Point Reyes Station. Currently a painting is hanging in the Contemporary Collection at the de Young Museum…7 Days to Make the World (the subtext is how long would it take to destroy the world?