Beauty Found (& other forms of currency)

There’s something radiant about a working art studio. A kind of open field where becoming is allowed to unfold. Form hasn’t yet settled. The air carries the feeling of something arriving. A field of permission, where becoming is more important than outcome. Like crucible’s, art studios hold conditions for emergence.

Often there’s a particular intoxicating scent: turps, sawdust, pigment, warm wood. Evidence that the studio honours disorder – entropy, even. It sounds counterintuitive to creation, but maybe it’s essential. Entropy as unfinished canvas, the scrap heap, the misfire. It opens the space beyond fixed form. A sacred instability that precedes coherence. The space before creation is often after destruction. It’s here that new patterns emerge – clear, meaningful, alive.

Not all artists seek disorder. Some do. Others resist it. Some are undone by it. But the ones who stay in the fire – who hold through the fragments, the not-yet, the almost – they learn to compost breakdown into something wholly new. A sickness that precedes healing. Real art is not painless. It’s a commitment to the restoration of coherence.

Some never make it through. They get caught in the recursion, held in the dark. But those who return carry treasure – something bright, clear, forged in beauty. These are the artists we stay close to. Beauty found when it seemed least possible.

To bring a work like that into your space is to anchor resonance. Original art changes the field of a room. It’s not just something to look at. It’s an encounter. A field shaped by a journey through entropy and back into form.

Important works carry that transmission. You feel it – in front of a Rothko, or a prehistoric mark left on stone. Resonance that lives because it was lived.

This can’t be fabricated. Only lived. You feel it in original work. So when you bring this kind of art into your life – not mass-produced, not algorithmically decorative – field-born, you’re saying: I honour the courage it took to make this. And I want this frequency near me.

And perhaps that is the most enduring form of value we can hold?

 

 

We’ve shown Orlanda Broom’s work since just after her graduation and witnessed her develop a vivid, unmistakable language of imagined ecosystems and transformation.

Over the years her reputation has expanded steadily – from her landmark 4 × 4 m commission for the Four Seasons Hotel in Downtown New York to a growing presence on the international stage. Recent inclusion in Flowers: Flora in Contemporary Art & Culture at Saatchi Gallery, London, and an upcoming exhibition at Lux Perpetua Art Centre in Mérida, Mexico, mark a new level of visibility and demand. Her paintings now sit firmly in the territory of high resonance – coherence made visible, and a compelling proposition for serious collectors attuned to where beauty’s value is heading.

 

 

 

 

View available works by Orlanda Broom