Craft is the oldest research method we have. Every stitch, glaze and brushstroke in this room is a hypothesis, tested across generations, about how to make a beautiful and useful thing.
A weaver in Oaxaca, a Xiqu performer in Suzhou, a brass-caster in Benin City: they are all working from a footnoted tradition. The materials are local; the inheritance is not. Each piece carries a lineage older than the studio it was made in.
We commission, document and patronise work directly with master artisans, paying provenance prices, naming makers in full, and returning a share of every sale to the workshop. The economics here matter as much as the aesthetics.
This room features work that is currently available to private collectors and institutions, alongside studies that are part of our permanent archive.
Indigo, kente, ikat, Harris tweed. Each weaving culture encodes geography, climate and kinship into the cloth itself. We work with master weavers on long-form commissions, preserving the dye chemistry as carefully as the pattern.
A workshop is not a museum. Tools are sharpened. Apprentices break things. Patterns mutate. We document craft in motion, on the bench, mid-mistake, and treat the working studio as the most honest archive a tradition can have.
Some traditions only live when performed: Xiqu opera, Yoruba masquerade, Kerala's Kutiyattam. We capture the costume, the score and the season together, treating the performance itself as the object of conservation.
The maker is not separate from the made. To collect a piece without naming its maker is to lose the most interesting half of the object.
Craft is the oldest research method we have. Every stitch, glaze and brushstroke in this room is a hypothesis, tested across generations, about how to make a beautiful and useful thing.
A weaver in Oaxaca, a Xiqu performer in Suzhou, a brass-caster in Benin City: they are all working from a footnoted tradition. The materials are local; the inheritance is not. Each piece carries a lineage older than the studio it was made in.
We commission, document and patronise work directly with master artisans, paying provenance prices, naming makers in full, and returning a share of every sale to the workshop. The economics here matter as much as the aesthetics.
This room features work that is currently available to private collectors and institutions, alongside studies that are part of our permanent archive.
Indigo, kente, ikat, Harris tweed. Each weaving culture encodes geography, climate and kinship into the cloth itself. We work with master weavers on long-form commissions, preserving the dye chemistry as carefully as the pattern.
A workshop is not a museum. Tools are sharpened. Apprentices break things. Patterns mutate. We document craft in motion, on the bench, mid-mistake, and treat the working studio as the most honest archive a tradition can have.
Some traditions only live when performed: Xiqu opera, Yoruba masquerade, Kerala's Kutiyattam. We capture the costume, the score and the season together, treating the performance itself as the object of conservation.
The maker is not separate from the made. To collect a piece without naming its maker is to lose the most interesting half of the object.