1980 Anita Ford Signed Screenprint. Printed on heavy thick white matte paper. Hand signed by artist and listed as 6/29 in limited edition series. Titled 'Perimeter Review' and depicts a barb wire fence overlooking a vibrant sunset landscape with prickly pear cacti in the foreground. FREE US shipping included.

Size: 24ʺW × 31ʺH. 

Condition: Excellent condition with four 1/2 inch edge creases which can be easily covered with matting when framing. Some very faint creasing but barely visible.

About the Artist - Anita Ford

Anita Ford (1948–2018) was a British printmaker, painter and sculptor born in London. After a foundation year at Coventry College of Art, she studied at Loughborough College of Art from 1966 to 1969, earning a first-class honours Dip.AD in Fine Art (Sculpture), then spent 1970–71 at the Academia di Belle Arti in Venice on an Italian State Scholarship. She went on to set up print studios in Bologna and Verona, and over a 50-year career exhibited and sold widely in the UK and abroad. Her CV includes some colourful highlights: she was Artist in Residence at Isetan in Tokyo, worked with Ballet Rambert on an inter-arts collaboration at the Arnolfini in Bristol, and was selected to show at the Dostoyevsky Foundation in St Petersburg. She also taught, lecturing in screenprinting and paperworks at Newport Art College and in textiles and printmaking at City of Bath College in the early 1990s.

Silkscreen was the heart of her practice. She spent years developing a monoprint method in which transparent layers are printed on top of one another to build great depth of colour, with hand-drawn detail added between the layers and on the surface, so each unique piece became a hybrid of screenprint and drawing. She travelled widely through India, Japan and Europe, and much of her work explored the tension between creativity and destruction, often fuelled by encounters with other cultures and environmental concerns. One of the more charming facts about her is that she was also a sailor: she described her colour work peaking between 2004 and 2009, when she spent summers travelling on her boat 'Reveller', producing sensual prints about wind, waves, swell and the rhythm of fishing lines. Her husband Alfred Huckett remembered her boundless inventiveness, saying that if you left her in a room with the parts of a lawn mower, she'd turn it into an artwork.

Her late work took a striking turn. Around 2010 she largely abandoned colour for a darker, monochrome palette, and her final works explore personal anxieties and a deeply spiritual journey; the largest, 'Spirit Faces', is made up of 60 separate mixed-media drawings. As she became increasingly deaf late in life, she confronted the experience through her art in the Cacophony series. She wrote about learning to lip-read and how she had come to "watch words," and the works are black or monochrome with touches of red, using punched holes that recall typewriter keys or old telephone and headphone perforations, scattered letters reminiscent of board games, fuzzy backgrounds suggesting tinnitus or background noise, and grids that seem to express her drive to bring order to something formless. The collection debuted with Saatchi Art at the Other Art Fair in London in 2016, two years before her death, and her husband has since offered most of it free to any institution connected with hearing loss, asking only that a donation be made to a hearing charity.