The complete collection · 01 to 15
Fifteen fixed visual languages across three considered collections, each built from different materials, processes and rules.
Try one on your homeThe house atlas · 15 ways Britain lives
From first flats to farmhouses, every example goes through exactly the same portrait process as a photograph sent in by a customer.
These example houses were made for the gallery, so none of them belongs to a customer.
Midnight Edition1930s semi · The Midlands
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0101 / The Signature Collection
Carved linocut marks and layered monoprint under a midnight-indigo field, with copper and gold leaf, a low terracotta horizon and windows lit from within.
0202 / The Signature Collection
Gouache and dry brush ink over modernist colour fields, with a quiet screenprint misregistration and the tooth of archival paper. Warm without being sentimental.
0303 / The Signature Collection
Layered shapes standing one in front of another, embossed botanicals, deckled fibres and soft shadow, with leaves and a sun disc crowding the edges of the panel. Joyful, not childish.
0404 / The Signature Collection
Thin veils of egg tempera colour beneath a broad gilded arch give the building a still, protective presence. A portrait for homes, chapels and venues that mean more than their walls.
0505 / The Paper Room
Charcoal dust, compressed blacks and highlights erased straight out of the paper. One mineral wash remembers the real facade while the house emerges from the weather.
0606 / The Paper Room
An exact, economical hierarchy of ink and etched line, blind embossing for everything around it, and one accent taken from your real front door. Intimate enough for a childhood home.
0707 / The Paper Room
Sepia ink holds every architectural fact while transparent colour travels beyond it. White paper, weather and one assured house: the familiar watercolour look, given a distinctly Held sense of space.
0808 / The Paper Room
India ink, patient hatching, untouched cotton paper. The facade is built from the density of the line alone, with nothing decorative to hide behind.
0909 / The Paper Room
A precise elevation floats over working blue, vellum and quiet copper registration marks. Technical enough for a study, personal enough for a hallway.
1010 / The Atelier
Palette-knife passages, deep impasto and open linen weave, with the colour turned up until it carries the emotional memory of the place.
1111 / The Atelier
Cathedral colour and precise lead lines, opalescent panes where the sky was, and pools of coloured light lying across the ground.
1212 / The Atelier
Bone white, carved paper edges and deep window reveals in shallow relief, with a few meaningful lines picked out in oxidised bronze.
1313 / The Atelier
Warm opaque gouache colour turns the true house into the central character. Familiar details become small discoveries, with charm held firmly inside accurate architecture.
1414 / The Atelier
An oil study in honest daylight: natural colour, broken brushwork and bare linen between the strokes. It looks like one afternoon across the road, there and then.
1515 / The Atelier
Three inks, carved light and muscular negative space. The house becomes a striking print without surrendering a single defining proportion.
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