A series of etchings depicting Winter and Summer
To view the price list and further information about the works that are included on this page and explore the full collection of available artworks, sign up to receive the catalogue here.

Fig 2. Winter Beech Collection — Photograph by Hana Snow

Over centuries, etching has been passed down through generations, each artist learning to interpret the technique in their own distinctive voice.

In my practice, I use a photographic process to capture natural forms—branches, leaves, trees—and translate their silhouettes into etched plates. Each print is made on Hahnemühle paper, a German mill renowned for its archival quality since 1584, ensuring every etching stands the test of time.

Fig. 7 Spike Island Etching Studio where I completed my etchings.

Fig 8. Dan Pearson and Huw Morgan’s garden — Photograph by Huw Morgan

After completing my Winter Beech etching series—my visual expression of winter—I began a new collection of seven etchings titled Dan and Huw, created as a response to the summer months.

The title honours Dan Pearson and Huw Morgan, whose extraordinary garden inspired the series. It was Huw who first introduced me to the ancient Japanese calendar of 72 micro-seasons—a framework that has shaped my practice ever since. Each micro-season lasts around five days, marking the most subtle shifts in nature. I’ve continued to use this calendar here in the UK, creating artworks that respond directly to what is seen and felt in the landscape at any given moment.

Fig 10. Dan & Huw Woodoats 2 — Photograph by Hana Snow

Fig 11. Wood Oats in Dan Pearson and Huw Morgan’s garden — Photograph by Huw Morgan

Fig 16. Dan Pearson and Huw Morgan’s rose patch — Photograph by Huw Morgan

Their garden is a treasure trove of plant varieties, from rare specimens to heritage favourites. I could have drawn inspiration from countless species, but I selected these particular plants for their distinctive structural forms, which translate beautifully through my etching process.

Fig 17. Dan Pearson and Huw Morgan’s rose in their garden— Photograph by Huw Morgan

Fig 18. Dan and Huw Rose 4
Framed — Photograph by Hana Snow

This series is offered as limited editions of 25, never to be reprinted. Once they’re gone, they’re gone.
Conceived as entry-point collector pieces, these etchings offer an accessible way to begin a meaningful collection of my work without committing to larger pieces. And because each print is pulled entirely by hand, every etching carries its own subtle individuality.

To view the available works, please sign up for access, or email me directly at info@lucyauge.co.uk to enquire or reserve a piece.

Fig.1 Winter and Summer Etchings Combined — Photograph by Hana Snow

The journey for these etchings began in 2018, when I was exploring shadows in my painting practice. I wanted to focus on light and how it interacts with dark, translating that dialogue into my etchings.

Fig 4. A look back at etchings being made.

Etching is one of the oldest and most revered forms of printmaking, with roots stretching back to the 16th century. It was first used by artists in Germany and Italy, and quickly adopted by masters such as Rembrandt, whose etchings demonstrated the extraordinary subtlety and depth this technique could achieve.

Fig. 6 Etching Ink is scraped over the plate

Each etching is hand-pulled through a traditional etching press, using the same heritage process that has been practiced for centuries. I value this time-honoured method because, even when printing from the same plate, no two impressions are ever identical. Variations in ink application, pressure, plate tone, and the subtleties of hand-wiping create slight differences in every print—giving each one its own character and a sense of individuality.

Fig 9. Dan and Huw Summer Flowers Etching Collection — Photograph by Hana Snow

Fig 12. Dahlia Etching Plate being inked up

Fig 13. Dahlia Etching Plate Printing Reveal

Fig 14. Dan and Huw Dahlia Framed — Photograph by Hana Snow

Fig 15. Staind Oak Frame — Photograph by Hana Snow

Fig 19. Dan Pearson and Huw Morgan’s Dahlia patch — Photograph by Huw Morgan

A selection of panel artworks from across the season.
To view available works and explore the full archive, [click here].

Even if I paint the same tree again and again, it is never the same, light, weather, and perception always shift.

My artworks are a kind of preservation, records of impermanence, and deep attention to the natural world.

My practice follows the rhythm of the 52 micro-seasons, a Japanese calendar that honours the ephemeral beauty of change. Each artwork is a response to what I notice in nature that week, capturing a fleeting moment before it shifts.

I often use materials drawn directly from the landscape, like sumi ink made of soot or charred stones gathered across the UK, allowing the subject to guide me, then translating it intuitively through ink, graphite, etching, or fire.