Along more than half a century of artistic experience – starting from the years of academic learning in the sixties up to the present – the coherence in the search and construction of an identity in her style has been the alpha and omega of Flora Fong’s vital career.

A first glance suffices to note her distinctive mark. In a group exhibition, in the midst of the most diverse repertoire of images, Flora is herself, unique and unyielding. It is not necessary to be an expert on her work, not even an expert on currents, styles and trends to state, or at least sense, in the face of any of her works, be it from one period or another, that that painting, that drawing, that engraving, that stained-glass work… is Flora’s.

In the end, artists of her kind do not create for groups of initiates, but seek to create a bi-univocal, reciprocally enriching relation between what they have to offer and the sensitivity of those who receive the work.

Her creation is accessible but not exempt from encoded keys resulting from the mystery of creation. Her images are sustained by a communicative vocation, which does not turn them into primary equations.

Interesting in her case is the fact that she has succeeded without concessions or moulds. There are artists who find a kind of gold mine and freeze their expression; others soon exhaust thematic sources and technical procedures. Flora places herself on the extremes of both phases. Today she is obviously not the one she was initially; she has developed, her language has evolved, she has even explored unsuspected meanders in daily challenges, but at the same time she has remained faithful to her origin, loyal to her glance, consubstantial with her lineage. Although it may seem commonplace to say, Flora has never ceased to be Flora, she has evolved without losing her best creative and human conditions.