The horizon is included in most Australian paintings and has become an integral feature of Australian artworks. Storrier was influenced by Australian artists Russel Drysdale and Sydney Nolan. Both these artists use the horizon as a key feature of their paintings. Storrier incorporates the horizon in almost every painting and the main idea of his paintings are the horizon, not the actual objects he portrays in them. Storrier's theory on the horizon being the totemic image of Australia stems from his love of the horizon, even as a child "I was always gazing at what lay beyond the horizon. The beauty of distance." This shows that Storrier is working from the subjective frame as well as the cultural frame. An important quote from Storrier is this: "My burning rope pictures, the series called Point to Point, are totemic images of a journey from one point to another in the landscape of life, but they are really about the horizons beyond the burning rope." This quote shows us that Storrier's personal theories on the totemic image of Australia being the horizon is incorporated into his artworks. We can see from this that the personal theories of art influence the practice of artists. .
Another proof of how Storrier's theory of art is painting a totem to portray an idea with a poetic edge was when he divorced his wife in 1984. "Storrier, raging with pain and anger, painted a totem for his traumatic state" He thought of a totem and gave the totem an idea with a poetic edge to show his feelings and traumatised state. The painting was called "The Burn". The totem in the painting that reflected his raging view and traumatised state was a carcase of meant with a burning rope following the contour of the spine as a symbol of a flayed body. The ribs are showing, the penis is blood red, the testicles droop. This shows further evidence of Storrier working in the subjective frame. It is interesting to note how storrier communicates his feelings so effectively.