Allan Storer

Following seven years academic studies and postgraduate research in fine art and theory at Chelsea College of Art and finally Kings College, Allan always a people person, practised his skills working for a short while in community theatre, and then crisis intervention in mental health and complex needs through education and psychotherapy. Now based in St. Ives and London, he is a member of the Federation of British Artists, the Hesketh Hubbard Art Society and the St. Ives Art Club. A published artist in the National Collection Public Catalogue Foundation of Paintings sponsored by the BBC, Allan has exhibited with the Royal Institute of Oil Painters in the Mall Galleries London, museums and public art galleries. Commissions include a Royal household, numerous celebrities, politicians, executive villas and developments in Southern France including ten large works for the 2014 Grand Prix in Monaco and his largest painting to date, an exceptionally large canvas twenty-six feet height by eight feet width, extending from the ground floor entrance hall to the first-floor landing for a large interior art project in an executive apartment of a *McAlpine development luxury show home in Chelsea, London. His other artworks have been featured in national tournaments in the USA, CD album covers and as event logos as far away as Columbia. Most recently Allan’s paintings featured in an episode of the TV Detective series McDonald and Dodds. Allan also provides workshops and is a respected art tutor and lecturer. *Cheyne Terrace, located in prime central London between the King’s Road and Cheyne Walk, will comprise 25 luxury apartments with the benefit of large terraces, a private swimming pool and leisure facility, along with extensive car parking, 24 hour security and concierge. Artist Statement: “only connect” E. M. Forster Oil painter, tutor and academic, Allan Storer enjoys life and people. Colour, shape and value evoke emotion and feelings, they “only connect” Like all abstract paintings my work is primarily about the emotional connection between viewer and painting, the inner and outer connecting. Idea and technique assisted by oil’s texture and materiality creates an organic vitality independent of image, paying homage to the artistic principle of creativity Painting my large abstracts with squeegee and palette knife gives me no alternative other than to loosen up and find opportunity in chance outcomes. The direction of a painting is sometimes almost immediate, although very often I have to work and re-work leaving the canvas untouched for weeks or months until the painting speaks and completion is achieved.

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