“A condition report photographed on the day a work ships sounds like paperwork. In a dispute, it's the only thing standing between 'he said, she said' and an actual resolution.”
Notes from Bergen, where Sigrid Lunde has been shipping work to collectors since 2022 — on process, pace, and what changes once a piece leaves the studio.
A practical look at giving original art as a gift, and getting it right — one of the more common questions new collectors run into.
About daylight at latitude 60 — the moment the sun clears the fjord wall and the whole room changes temperature. A closer look at how Ingrid Halvorsen built the piece, and what it's actually made of.
Why transparent pricing changes how buyers negotiate — a look at the economics most buyers never see spelled out.
Sigrid Lunde works in marine and alpine painting at scale, stretched and crated in the studio before it goes anywhere near a carrier — a set of technical choices that shape everything from how a piece ages to how it should be priced.
Faster drying doesn't mean less considered — it means a different kind of decision-making happens on the canvas.
What a sketchbook is actually for — a look at the parts of a studio practice that rarely make it into an artist bio.
Work that resists a clean medium label is often where an artist is taking the biggest risks.
What a curated marketplace is actually vouching for when it approves you — the business side of a studio practice, from an artist's perspective rather than a collector's.
A plain explanation of what's held, when it's released, and what happens if something goes wrong.
The largest works in the studio roster — stretched, crated and built to hold a wall, from a frozen bay to a Provençal orchard. A walk through what's on view and why the pairing works.
A look inside how Ingrid Halvorsen, working out of Oslo, actually gets from an idea to a finished piece — and why the process shows in the work.