Visitors sometimes ask what the net is for, and the honest answer is: almost nothing, on purpose. It catches no clients, carries no traffic and connects nothing to anything. It hangs in the studio as the bench’s one piece of doctrine — a mesh is a set of fixed relations, and fixed relations are what a series is made of.
The doctrine reaches the accounts as well. Production rests private in each maker’s account; the gallery shows only what a maker deliberately carried into the open. A studio that trawled everything its tools produced into public view would soon publish carelessly, and carelessness is the one catch this net is determined never to make.
Even the prices obey the mesh: every job’s cost is knotted down in print before the job runs, failures refund themselves, and no claim is made here about reach, speed or riches. The work is the claim.
An open mesh with honest edges. It holds one character steady across a whole series — and that, the bench maintains, is catch enough.