He was one of the first promoters and theorists of Imagism along with T. E. Hulme and F. S. Flint, but his contrasting relation with Ezra Pound contributed to make him soon forgotten.
His poetry was based on the value of the image to which language had to be adapted in conciseness and vividness through the use of simple and universally comprehensible symbols.
Although he was eager to renew English poetry in technique and subjects, he did not deny the value of tradition and classicism: modern and Romantic sensitiveness were both present in his work.
[1] Later in the Spring of 1909, Storer was a founder member of a group, (an unnamed Soho dining and talking society)[2] from which the Imagist genre was derived.
[1] In that same year, 1909, Storer wrote an essay on Imagism, appended to his book Mirrors of Illusion, in which he said "there is no absolute virtue in iambic pentameter as such...however well they may be done.
[5] Later, from 1914 onward, Storer was one of the principal contributors to The Egoist (An Individualist Review) with short articles on modern poetry, painting, sculpture, translations etc.
During this period he was in close contact with Italian painters and poets who belonged to the second Futurism: he created a particular movement not well defined and not officially recognized, but with specific features.
When he returned to London after the outbreak of the Second World War, he collaborated with the BBC for transmissions in Italian language until his death.