Tacita Dean (born 1965 in Canterbury, England) has spent three decades working almost exclusively in analogue media — 16mm film, chalk, hand-printed photography — treating the physical vulnerability of these processes as inseparable from her subject matter, which returns repeatedly to disappearance, obsolescence, and the sea. She remains one of the most consistently inventive of contemporary British artists, and one of relatively few women artists to have built a major international reputation primarily through film.

Tacita Dean's most sustained body of work grew from the story of Donald Crowhurst, an amateur sailor who faked his position during a 1968 solo round-the-world yacht race before disappearing at sea, his abandoned trimaran later found empty. Dean has called it "a story about truth" rather than forgery. Between 1996 and 2000 she produced films and photographs around the story — a documentary, almost forensic engagement with landscape and time that places her in loose company with Richard Long, another British artist for whom photographing what remains after an action is inseparable from the artwork itself.

Tacita Dean remains equally committed to found material. Significant Form (2021), commissioned by The Hepworth Wakefield alongside its Barbara Hepworth retrospective, drew on 130 flea-market postcards — sculptural and geological forms selected in dialogue with Hepworth's own concerns, hand-printed using the photochemical processes she has spent her career defending against digital obsolescence.

Drawing runs alongside this work — large-scale chalk drawings spanning entire gallery walls, depicting seascapes, mountain peaks, and collapsing glaciers. Chalk's fragility, easily smudged or erased, mirrors the vanishing landscapes it depicts; The Roaring Forties: Seven Boards in Seven Days (1997) and Fatigue (2012) remain the most significant examples.

Tacita Dean was nominated for the Turner Prize in 1998 and has since received sustained recognition: the Hugo Boss Prize at the Guggenheim, election as a Royal Academician, the Kurt Schwitters Prize, and appointment as a National Academician in 2025. Major exhibitions have followed at Tate Modern, the Royal Academy, the New Museum, the Bourse de Commerce, and the Getty. She lives and works in Berlin and Los Angeles.

Disappearance at Sea (1996), Tacita Dean's breakthrough film shot at a lighthouse on Scotland's St Abb's Head, uses seven long static takes to track a sunset dissolving into darkness — an elegy for Donald Crowhurst rendered entirely through light, without a single image of the sea itself.

Wake (2000), Dean's auction record at £133,250 (Christie's London, 2012), is a monumental chalk-on-blackboard diptych spanning nearly two and a half metres — proof that her drawing practice commands the same seriousness as her films among collectors.

FILM (2011), Tacita Dean commission for Tate Modern's Turbine Hall, projected an eleven-metre silent 35mm loop onto a monolithic screen — hand-tinted, double-exposed, and masked directly onto celluloid, a monumental defence of analogue film staged at the exact moment the medium was being industrially phased out.

Significant Form (2021) arranges its 130 hand-printed postcards into a single, sprawling grid — each image individually selected, then sequenced so that curves and voids echo across the whole wall, turning found ephemera into a composition as considered as any of Tacita Dean's films.

Tacita Dean's limited edition prints extend her commitment to analogue process directly — hand-printed photochemical photographs, offset lithographs, and hybrid artworks produced using the same techniques central to her films and drawings, never simplified for reproduction. La Puerta del Diablo (2021), from Significant Form, and Aerial View of Teignmouth Electron both translate major bodies of research-driven work into signed, numbered, original editions.

Because Dean treats analogue printmaking as a serious extension of her practice rather than a secondary format, her editions typically trade in the low to mid four figures — considerably more accessible than her paintings and drawings, which can reach six figures at auction, as with her 2012 record for the chalk-on-blackboard diptych Wake.

For collectors, Tacita Dean prints and photographs for sale here provide entry into a body of work built on preserving processes at risk of disappearing entirely. Artworks are held in the permanent collections of MoMA, Tate, and the Centre Pompidou.