PEN Y FAN

PEN Y FAN

£840.00 GBP
Skip to product information
PEN Y FAN
  • PEN Y FAN
  • PEN Y FAN
  • PEN Y FAN
  • Lucy Auge burned wood texture detail, abstract natural patterns
  • PEN Y FAN
PEN Y FAN

PEN Y FAN

Currently Available

2026, Charred Wood

Unframed Dimensions: 50 cm × 50 cm (19.7 in × 19.7 in)
Framed Dimensions: 54 cm × 54 cm (21.3 in × 21.3 in)

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

PURCHASING OPTIONS:

Unframed: £840

Framed: £1,110 – presented in a museum-quality, bespoke charred frame. Currently photographed unframed.
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°100

I had climbed Pen Y Fan a couple of years ago and I have been thinking about the stones I saw at the top ever since, promising myself to go back and collect some to create an artwork from it.

Pen y Fan, the highest peak in South Wales at 886 m, rises dramatically in the Brecon Beacons National Park. The Old Red Sandstone that caps Pen y Fan formed in layers as sediments were deposited by ancient rivers and lakes. Over time, these layers were compacted and cemented into rock. Later, tectonic forces, weathering, and glacial erosion acted on the rock. Because sandstone tends to fracture along planes of weakness, it often breaks into regular, angular blocks—which can appear roughly rectangular from above or in cross-section. The combination of layered deposition and natural cracking creates these striking geometric shapes you see at the summit.

I started creating charred artworks in 2022, searching for a way to work with the different stones I encountered around the UK—materials shaped by the deep history and geology of their landscapes.

The patterns left by rain or lichen on stones were what first caught my eye—nature’s own abstract art. That was the starting point, and I initially thought I would create work depicting these fleeting moments, but the series has since rooted itself more deeply in the landscape. I now look forward to seeing more of the underlying geology and history reveal themselves through these abstract works.

Complementary Works