How do I acquire a print by Fegg Mou?

Prints are made in small, hand-numbered editions. Inquire by email with the series, plate number, and format you're considering; you will receive availability, edition number, and price within three days.

What formats and editions are available?

Archival pigment prints, made to order in the paper selected by the collector at time of purchase, from a hand-numbered edition of 7 unless noted. Offered in a single format: 42 × 89cm. Museum-quality cotton rag paper — Hahnemühle Photo Rag, Canson Infinity Platine Fibre Rag, or Ilford Galerie Prestige — selected to match the tonal character of the specific plate. Framing arranged on request, in oak or blackened ash.

How can I pay for a print?

Wire transfer or secure card invoice. Payment instructions are sent only after a confirmed inquiry, and buyers are advised to verify bank details by phone before sending a wire.

Does Fegg Mou work with galleries and curators?

Yes. Fegg Mou has exhibited internationally at art fairs and galleries including ITSLIQUID's Rome International Art Fair and AGI Fine Art at Agora Gallery, New York. Gallery and curatorial inquiries are reviewed individually.

Fegg Mou (Diana Lucci) | Fine Art Photographer, NY

The Four Chambers

Galleries

Every body of work is housed under one of the four classical operations. Each chamber holds a distinct series, shot, developed, and sequenced according to that element's logic.

Ignis

Calcination — the burning away

Long exposures of combustion, decay, and overexposed light. The series on what fire reveals by destroying.

Series I · 10 Plates

View full Ignis series →

Aqua

Dissolution — the loosening of form

Long-exposure water studies and double development. Boundaries dissolved between subject and surround.

Series II · 10 Plates

View full Aqua series →

Terra

Coagulation — matter made solid

Still lifes of mineral, bone, and rust. The portrait series of objects that have outlasted their owners.

Series III · 10 Plates

View full Terra series →

Aer

Sublimation — the rising of the subtle

Smoke, breath, and fog studies. Portraiture where the sitter is present only as trace.

Series IV · 10 Plates

View full Aer series →

Anima Mundi

The world-soul — where the four meet

The complete portfolio, drawn across fire, water, earth, and air. Liquid I.

Portfolio · 6 Plates

View Anima Mundi →

Ignis, No. 07 — Combustion

Ignis, No. 02 — Residue

Aqua, No. 02 — Threshold

Aqua, No. 09 — Drift

Aer, No. 02 — Trace Portrait

Aer, No. 04 — Vapor Study

Plate I

Ignis, No. 01 — Calcination Study

Plate II

Ignis, No. 02 — Residue

Plate III

Ignis, No. 03 — Ash Portrait

Plate IV

Ignis, No. 04 — Ember Trace

Plate V

Ignis, No. 05 — Burnt Ground

Plate VI

Ignis, No. 06 — First Reduction

Plate VII

Ignis, No. 07 — Combustion

Plate VIII

Ignis, No. 08 — Cinder Light

Plate IX

Ignis, No. 09 — What the Flame Took

Plate X

Ignis, No. 10 — Last Ember

Plate XI

Aqua, No. 01 — Dissolution

Plate XII

Aqua, No. 02 — Threshold

Plate XIII

Aqua, No. 03 — Without Edge

Plate XIV

Aqua, No. 04 — Tidal Memory

Plate XV

Aqua, No. 05 — Submersion

Plate XVI

Aqua, No. 06 — Undertow

Plate XVII

Aqua, No. 07 — Surface Tension

Plate XVIII

Aqua, No. 08 — Where It Loosens

Plate XIX

Aqua, No. 09 — Drift

Plate XX

Aqua, No. 10 — Still Water

Plate XXI

Terra, No. 01 — Coagulation

Plate XXII

Terra, No. 02 — Mineral Sitter

Plate XXIII

Terra, No. 03 — What Remains

Plate XXIV

Terra, No. 04 — Bone Study

Plate XXV

Terra, No. 05 — Rust Portrait

Plate XXVI

Terra, No. 06 — Sediment

Plate XXVII

Terra, No. 07 — Weight of Matter

Plate XXVIII

Terra, No. 08 — Ground State

Plate XXIX

Terra, No. 09 — Petrified

Plate XXX

Terra, No. 10 — Anchor

Plate XXXI

Aer, No. 01 — Sublimation

Plate XXXII

Aer, No. 02 — Trace Portrait

Plate XXXIII

Aer, No. 03 — Last Breath

Plate XXXIV

Aer, No. 04 — Vapor Study

Plate XXXV

Aer, No. 05 — Rising

Plate XXXVI

Aer, No. 06 — Without Body

Plate XXXVII

Aer, No. 07 — Thin Air

Plate XXXVIII

Aer, No. 08 — Suspended

Plate XXXIX

Aer, No. 09 — Becoming Smoke

Plate XL

Aer, No. 10 — Departure

Statement

On Photography as Alchemical Instrument

Alchemy was never truly about gold. It was a discipline for describing transformation in matter that could not yet be described in words — and photography inherited that exact problem. A photograph is matter (silver, light, paper) arranged to record a change too slow or too fast for the eye. I treat my camera the way the old philosophers treated their furnace: not as a tool that captures a fixed truth, but as a vessel in which something is allowed to become something else.

Each body of work follows one of the four classical operations — calcination, dissolution, coagulation, sublimation — not as decoration but as method. The chemistry of the darkroom is, quite literally, alchemical: silver halides reduced by light, fixed by acid, the latent image "born" in a bath the old texts would have called a tincture. The negative is a prima materia — the base substance every print is transmuted from.

What I want from a viewer is not recognition of a subject, but the sensation of having witnessed a process mid-change — matter caught between one state and the next, the way mercury is caught between liquid and metal. That is the only theory I hold to consistently: an image should show you the seam where one thing becomes another.

"Solve et coagula" — dissolve, and bind together again. The working principle behind every series shown here.

The artist, in process

Biography

Fegg Mou

Fegg Mou is a multidisciplinary artist based in Washington, D.C. Her practice is grounded in formal study of philosophy and history — disciplines she treats as method rather than reference. She describes her process as that of a "mazewalker": a deliberate, intuitive navigation of the internal, philosophical concept of memory, identity, and meaning. Her thinking draws on radical constructivism and philosophies of self-authored meaning.

Photography is her primary medium — a tool used not to record the world as it appears, but to excavate what lies beneath its surface. Her images pose questions rather than answer them. The viewer moves through corridors of light, shadow, and the unnamed.

Mou is represented by HelloArt Gallery in Washington, D.C. Her work has been exhibited internationally, including the Rome International Art Fair through ITSLIQUID and a feature in DOCU Magazine, with a forthcoming appearance in the group exhibition "New York, I Love You" at Agora Gallery, Chelsea, presented by AGI Fine Art.

At its core, her work is a philosophical act: to look closely is to begin to know yourself. Press kit and full CV available on request — inquire@dianalucci.com.

Collecting the Work

How to Order

Each print exists in a small, hand-numbered edition, processed and signed personally. Nothing here is reproduced on demand.

Editions & Formats

Archival pigment prints, made to order in the paper selected at time of purchase, from a hand-numbered edition of 7 unless noted. One format only: 42 × 89cm. Museum-quality cotton rag — Hahnemühle Photo Rag, Canson Infinity Platine Fibre Rag, or Ilford Galerie Prestige — matched to the tonal character of the plate. Framing is available on request, in oak or blackened ash.

Pricing

Each series is priced individually, and the price rises as the edition sells through. Pricing and availability on inquiry.

Payment

Wire transfer or secure card invoice. Payment instructions follow a confirmed inquiry — verify bank details by phone before sending a wire, since email alone isn't sufficient confirmation.

Inquiries

Each inquiry is reviewed individually. Confirmed requests receive edition number, price, and payment details directly. Not every inquiry results in a sale.

Inquire Instagram

FEGG MOU