.....Ford's studies of women in the street have a ...nervous bustling immediacy. From afar the colours seem to be carefully interleaved and balanced, with almost crystal precision. In close up they turn out to consist of quite loose brush strokes. ...........the Pharonic pieces - stone goddesses and tomb drawings........again look good from a distance while closer inspection reveals deliberately coarse and ragged brushstrokes, echoing the pockmarks(caused by weathering or vandalism)on the icons she's painting. In this she successfully evokes the mystique of an ancient civilisation while mourning the inevitable decay of its remains........................This is versatile, energetic work offering personal yet universal perspective on one of the worlds most intriguing cultures.

...Ros Ford's stunning free standing triptych can be seen in the foyer of the Bristol City Museum and Art Gallery

Venue (Bristol)

..........My first encounter was her imagery of the goddess Hathor. Although these are overtly Egyptian, what's interesting is that they were painted after her return to Britain. Her paintings produced during her six years in Egypt are of people also, but these are of living people, workmen and street people. The subject matter is almost universal, but for me, the paintings signify an Egyptianess through their immedacy, vibrant use of colour and depth.
Like dreams and memories, they tickle the nearly known truths about such a mythologised and ancient place.......
extract Lady of the West catalogue - Kit Edwardes

'.....Fords paintings have a sense of the celebratory to them..........(she) delights in describing color and form for its own sake. She does not, however paint in an exacting super realism manner, nor is she consumed by a need to precisely depict every aspect.....
Cairo Today - Susanna Beaumont

.....The incredible closeness to the object gives the feeling of an in depth photographic shot. This cotradicts the image of the thing and attempts to engulf its stubborn energy, thus isolating it from any relationship with the medium in which it exists, re-affirming its abstract quality.....
....The energy is embodied in the use of colour which is isolated from any personal connection meaning that we cannot speak about a palette of colour specific to the artist. Colour here comes as close as possible to the actual colour of the chosen for the work........
extract Still Lives catalogue - Stephania Angarano