Michael Alford

Nude, Blue Linen

2017

Artist Biography Michael Alford is an established British artist whose works have featured in prominent prizes and exhibitions throughout the UK, and who has twice been appointed war artist to the British Military. Inspired by extensive travel, he composes representations of diverse landscapes and intriguing figures whilst simultaneously fusing classical techniques with a sharp, modern sensibility. Alford's overall aesthetic captures sensitive intricacy and luminous clarity. After returning, he chose to study art at the Slade School and the Chelsea School of Art. Diverse Landscape Alford's varied body of work reflects his interest in many types of painting. He is well known for powerful cityscapes of contemporary urban centres —especially London—and for landscapes that capture diverse geographies through the eyes of a passionate traveller. His paintings of figures, clothed and nude, are sought after for their combination of fine draughtsmanship, acute observation and sense of drama. Military Honours for a traveller-painter Alford has been awarded prizes including the Green and Stone Oil Painting Prize, the Agnes Reeve Memorial Prize for best painting of London, and the Prima Luce Mural prize. Alford is a member of the Chelsea Arts Society. He has twice been appointed war artist to the British Military and was also commissioned by the military to produce artwork in Iraq in 2016. Style and Technique Michael is a figurative painter with an expressive classical style. He depicts scenes of contemporary life with an emphasis on urban subjects, landscapes and the human figure. His wide-ranging catalogue includes cityscapes, city scenes (captured moments in the life of the city), landscapes, beach- and seascapes, figure groups and nudes. His approach is distinguished by vigorous brushwork, skilled draftsmanship, bold handling of colour and a sensitive rendering of the interplay of shadow and light. Artist Statement “Painting for me is recapturing the experience of seeing, without being too literal-minded about what that experience is or means. My work always starts with direct observation of the visible world. It can be broad and sweeping, as in landscapes or cityscapes, or very close and intimate, as in figures, nudes or interiors. I often go out looking for subjects and return to the studio with sketches or drawings. These I use as a starting point for a process that turns raw observation—impressions—into something more abstract and evocative. The process often involves cutting out visual distractions and transient effects so that the resulting image has more power. Time acts as an important filter for me and so does physical distance between the initial sketch and the painting. Both help me distil the memory and pick out the essential forms. My overall aim is to communicate my experience of seeing, to convey—through the use of light and shadow and mood—some of the magic and mystery I feel when I look at the world.” – Michael Alford