Alfora

The Alfora paintings in Portugal started with those work completed in 1998 of megalithic monuments in the Alentejo. From 1999 to 2001 he expanded the theme to include images of other regions in Portugal. At this point, using scenes based in the Alentejo and the Algarve, the style gets progressively more abstract. This leads to the painting entitled "Casa Oriental" and the introduction of the use of Chinese newspaper as collage. From this came the abstract group of paintings entitled "Chang´an" which means "great peace". The splendid new capital of southwest China, built in 582 by the Sui dynasty, Chang´an was totaly destroyed by war in 904. Using old Chinese newspapers, in collage, I produced four paintings based on this ancient city. Then I turned to the subject of other destroyed historical cities.. History is - "little more than the register of the crimes, follies and misfortunes of mankind" Edward Gibbon - 1776 - (The Decline and Fall of the Roman Empire) The continuation of this process resulted in a large series of paintings based on ancient civilizations. This work extracts colour and form from place, with a single repeated icon or object type appearing within each piece of work within the subject group. The majority of the work was completed in 2002 and the theme was finally phased out in 2005. What started as a hobby in mid life for Alfora lead on to an honors degree in Fine Art at Staffordshire University with further studies to Masters level later. He had representation at exhibitions in England in locations such as Manchester Academy, The Royal West of England Academy, Royal Festival Hall and The Barbican in London among others. Very much influenced by the discovery of J M W Turner in the Tate gallery, London. Influenced by the study of light, of which Turner was the master, the work of Alfora is complimented by a palette based on the colours used by Rembrandt, Delacroix and Bonnington. Brought into this, through studies based on derelict buildings and a continuing interest in architectural structures, is the depiction of line and structure of buildings within a field of colour. The breaking of the boundaries came with the discovery of the work of Raul Duffy and John Piper which, for Alfora, brought brighter colour through which the subject takes on a translucence allowing the viewer freedom of interpretation. The move from semi-representational landscape to abstract symbolism was a natural one. The later work of Alfora symbolically represents ancient historical places in an abstract manner. From this developed the more abstract work of the last few years which forms the bulk of recent exhibitions. The use of paint and collage produces a vibrancy of colour and form which relates to the imagery and culture of the places which inspired the work.

He has had a number of individual shows since moving to Portugal and was a founder member of “Blank Canvas” a self-help group of painters that worked from 2001 to 2007 with other artists to exhibit and promote quality art work. The group had a history of exhibiting with other professionals which included Antonio Couvinha, Jessica Dunn, Valerie Bornand, Costa Pinhero, Vincent de Brito, Guilherme Parente, Pedro Pinto Coelho and José Delgado Martin. Over this seven year period they exhibited widely in the Algarve and also in other regions and countries. Alfora now concentrates on painting and showing his work on the internet .

Every painting is a journey. A journey that begins with no clear conception of the end result. From the first mark on the blank canvas begins the process of building an image that ultimately will have a distinctive character of its own and contain within it a historical record of the process of creativity. The journey does not stop there. A new relationship begins between the painting and those who come to view it. Without exhibition the painting remains incomplete

Blank Canvas

This self-help group of painters is based in the Algarve and consists of four members – Alfora (Chris Alford), Charlie Holt, John Lamonby and Robert Ford. Alfora studied art at Staffordshire University with further studies to masters’ level at Wolverhampton and Manchester Metropolitan University. He taught art and design at local colleges and at Staffordshire University. Exhibitions in the UK have included prestigious locations such as Manchester Academy, The Royal West of England Academy, Royal Festival Hall and The Barbican in London and many more. Charlie Holt studied at Rochdale College of Art with further studies to masters level at Loughborough , Brighton and Manchester Metropolitan Universities. He retired from the position of head of Fine Art at Liverpool in 2000. His exhibition record covers a wide spread of venues in Britain as well as well as Spain, Russia and the USA. John Lamonby studied art at Northumbria College with further studies at Northumbria University. A practicing painter for over 30 years he has exhibited widely in UK and other countries and was a member of Tynside Artists Network. Rob Ford studied art at the Sutton School of Art with further studies at Putney School of Art and the Slade in London. He ran his own design company for a number of years and exhibits regularly at the Mall Galleries in London and at other prestigious locations. Blank Canvas is in the process of setting up a network of artists and has exhibited with a number of other professionals including Jessica Dunn, Valerie Bornand, Ligia, Otelo, Costa Pinhero, Vincent de Brito, Joana Rego, Tarsilla Anink, Paul Clifford, Guilherme Parente, Pedro Pinto Coelho and José Delgado Martin. Over the past four years they have exhibited widely in the Algarve with occasional shows in other regions and countries. They are now seeking to establish a higher presence in Spain and Northern Portugal

Memórias do Alentejo, Rumo ao Algarve

A viagem nunca acaba porque todo o viajante peregrina e deambula consoante os humores, as estações do ano e a atracção física e espiritual dos lugares. Pinta-se o lugar para recomeçar a viagem (metáfora. Pinta-se, como se fotografa ou escreve sobre um lugar por inquietação em não se saber quando e por que se vai voltar a este lugar, ou pinta-se por agradecimento ao belo).

Estas obras são uma viagem, por definição inacabada, incompleta, à procura de sentido. Viaja-se pelo Norte, pelo Alentejo, chega-se discretamente ao Algarve.
Chris Alford (Alfora) sente-se devedor da Luz de Turner, pratica experiências torturadas na paleta que poderia ter pertencido a Rembrandt, Delacroix e Bonnington. Não sei porque não é possível associar igualmente Vermeer, Chagal ou Cezanne, tal a embriaguez destas cores coralinas, translúcidas, esmaltadas, por vezes, transgressoras quanto à coexistência entre volume, espaço e percepção do lugar pelo viajante. Pontos centrais desta arte fora de todas as escolas e movimentos. Há edifícios arruinados ou abandonados, mas captam-se vozes, recuperam-se memórias; a arquitectura desobedece à observação lógica de quem procura a nitidez ou a firmeza do casario. Como na alquimia a luz torna-se contraluz, as formas são ditadas pelo sortilégio do campo, de cor unitária que se dimensiona como um segundo plano.

Peregrina-se entre ruas, casas, janelas, muralhas, entradas de povoados. Lugar antigo vira novo, tal a geografia é matéria prima das mensagens do viajante.

Em resumo, memórias de luz, arquitectura e lugares virtuais. Já estamos no Algarve, resta pedir a Chris Alford (Alfora) para continuar a pintar os novos lugares de peregrinação.....

Mário Beja Santos