PARYS MOUNTAIN

PARYS MOUNTAIN

£4,150.00 GBP £5,400.00 GBP
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PARYS MOUNTAIN
  • PARYS MOUNTAIN
  • PARYS MOUNTAIN
  • PARYS MOUNTAIN
PARYS MOUNTAIN

PARYS MOUNTAIN

Currently Available

2023, Charred Wood with Charred Wood Frame

Unframed Dimensions: 120cm x 90cm (47.2in x 35.4in)

Framed Dimensions: 128cm x 92cm (50.4in x 36.2in)

Original work, signed by the artist, accompanied by a certificate of authenticity, with the sale recorded in the artist’s archive.


STUDIO SALE PRICE

Was £5,400 — includes bespoke framing
Studio Sale Price: £4,150 — includes bespoke framing
SHIPPING & TAXES

Shipping costs are calculated individually. A fully insured worldwide shipping quote can be provided upon enquiry once the artwork and delivery address are confirmed.

I offer fully insured worldwide shipping on all original artworks, using specialist fine art couriers to ensure safe, tracked delivery.

VAT & IMPORT DUTIES

I am not VAT registered, so VAT is not charged on purchases.
International orders may be subject to customs duties or import taxes, which vary by country.

FRAMED OR UNFRAMED SHIPPING OPTIONS

All artworks can be supplied framed, with museum-quality bespoke framing and secure crating for transport.

Certain works can also be shipped unframed if you prefer to use your own framer, or are shipping overseas and would like a more economical option. Unframed works are carefully packaged to archival standards and include professional framing guidance.
FRAMING

Unless stated otherwise, artworks are available unframed and can be purchased as such if you prefer to work with your own framer.

I also offer a bespoke framing service through Ro Frames, who take exceptional care in the handling and presentation of artworks. Using sustainable wood, museum-grade materials, UV-protective glazing, and conservation-standard, acid-free mounting techniques, each frame is crafted to preserve and enhance the work.

PAYMENT OPTIONS

To make collecting more accessible, I offer two ways to purchase artwork:

FULL PAYMENT
Payment in full secures the work and allows for prompt shipment.


INSTALMENTS
Monthly instalments can be arranged, with shipment following receipt of the final payment. A simple contract will be provided to protect both parties.

Please specify your preferred payment option when making your enquiry.

About the Work

I have been working weekly through my Journal de Bord series for several years—an ongoing practice rooted in real-time observation, much like a captain's log. This approach is inspired by the Japanese shichijni ko calendar, where each micro-season lasts only a few days. Nature is constantly changing, and I strive to capture those fleeting moments before they vanish.

This piece is part of my Journal de Bord series, shared with my catalogue subscribers each week. In this entry, I reflect on what I observed in nature, how the piece unfolded, and the specific moment that inspired the work. Below is the journal entry to go alongside this artwork.

Entrée n°56

One of the most memorable places I visited on my trip was Parys Mountain, also known as the Copper Kingdom. In the 18th century, Mynydd Parys was the largest copper mine in the world, though its history stretches back over 4,000 years to the Bronze Age. Standing there, I felt transported to another planet — its otherworldly landscape unlike anything I had seen before. The striking variations in colour come from the rich minerals within the mountain, creating a scene that feels both ancient and surreal.

I brought stones from Parys Mountain back with me to continue my What Is Left Behind series, which explores abstract works inspired by geological formations across the UK. For this piece, I wanted to capture the mountain’s sense of grandeur. To do so, I chose the largest board I could fit into my car, resulting in my largest charred work to date.

This piece forms part of a wider body of work in which I explore the abstract shapes of this country’s geology. The silhouettes of stones — the way their forms are dictated by place — tell us something about where we stand. I create these silhouettes by burning the stones into the wood, allowing their “footprints” to become the artwork. Each stone carries its own visual story, shaped by its journey to different sites of geological significance, places that might hold a narrative or reveal something about the landscape. Through this process, I am interested in how landscape, material, and memory become quietly embedded in form.

The piece has been preserved using the traditional Japanese technique of Shou Sugi Ban, where the wood is charred to enhance its natural textures and create a deep, rich contrast. The process not only protects the wood but also gives it a unique, lasting character — much like the geological landscapes that inspired it.

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