“Lights in Lloyd Park” A set of 4 etchings responding to the laser show at William Morris Gallery, Lloyd Park, part of the opening ceremony of Waltham Forest London Borough of Culture 2019.

The opening event for Waltham Forest London Borough of Culture at The William Morris Gallery in January 2019 was a laser show designed and produced by Marshmallow Laser Feast. This exciting show projected into the night sky inspired Anna to create and produce a series of prints showing something of the show and responding to the feeling of being there on that dark January evening.

Anna produced five images under the title “Lights in Lloyd Park” which were originally pen and ink drawings with watercolour washes and these were worked up into a series of four etchings.

  1. “Axis”
  2. “Conic Solid”
  3. “Focal Point”
  4. “Elliptical Orbit

The 9.5 x 12cm plates were etched and an edition of 16 prints for each image was made at Inky Cuttlefish Studios in Walthamstow. The titles refer to the science and maths involved in the creation of the laser project and to the “out-of-this world” quality of the imagery produced by the designers.

Etching is a method of printing whereby a metal plate has an image drawn on the wax-covered surface. This is dipped in acid and the resulting intaglio image is filled with ink; the excess ink is wiped away, then the plate is put through the rollers with paper in place. Each plate can be etched numerous times to reach a finished image and prints are taken each time the plate is etched (artist’s proofs). The final version is used for the complete edition, in this case an edition of 16 from each plate. Artist’s proofs which are not part of the finished edition may be sold separately as evidence of the working process.

The print-making process gives the artist another way of developing imagery using repetition, and in this way, you have a record of the changes in the work over several prints. The final print is affected by all stages of the process, including the drawing, etching, proofing, inking, wiping and the final print, so the artist’s eye is called upon throughout.


Prints:                   Unframed £45;                  Mounted: £55;                  Framed £95

Cards:   Available in packs of 10; two designs: “Conic Solid” and “Focal Point”, with matching envelopes.  £20 plus £3 p&p.  

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Monoprints From The Sea – Sea Interludes

Aldeburgh Journeys – Aldeburgh Fields

Monoprints 1998-9
The two groups of work, “From the Sea” and “Aldeburgh Journies”, represent a major part of the Landscape series. A series of monoprints was produced to accompany each group of paintings; the first a group of five monoprints, the second a group of four.
Each series of prints was produced over a period of several weeks in layers of 3 colours or more for each image. The method involved rolling ink onto a glass plate and then scraping colour off to create detail. Around 20 copies of each image were produced and in each series some 80 prints went through the artists’ hands at least 3 times each.
Using the loose and free rolling and scraping techniques along with the planned layers of colour, Anna had set up a firm structure within which to work. Repetition allowed the production of multiple artworks, but it also had the flexibility to adjust and vary the images from one print to the next. This gave rise to a series of small repeated images, each of which was entirely unique.
The images “From the Sea” (1998) derived from Suffolk seascape combined with a musical source with local relevance – Benjamin Britten’s “Peter Grimes’. Moonlight, Storm, Dawn and Sunday Morning relate to four “Sea Interludes” which occur between the acts of the opera. The idea of linking music with imagery reappears later in Anna’s Community Project, “Music into Art” (2008).
The images for “Aldeburgh Journies” (1999) were derived from the intensity or subtlety of colour found in the areas around this part of Suffolk and developed again into virtually abstract colour studies in each print: Green Gold, Hot Yellow, Blue Green, Pale Cream.

In both cases, the series of monoprints adds another aspect to the paintings as a group of work: production and repetition, control versus freedom and speed, all add their qualities and lead to further experiment in colour and composition