Elevate Spaces with Timeless Art
Aluminium and metal based artworks defined by bold form, refined craft, and a distinctly modern voice.
PATINATION
STEMCORE, CITYPOINT, LONDON UK
Fine Art Studio
Painting
Discover premium contemporary oil paintings on canvas also, perfect for architects, collectors, and designers. Elevate interiors and exteriors with unique, vibrant art crafted for every environment. Experience the fusion of expression and creativity at Studio Aluma.
Sculpture
Flux I is a compact, magnetic field of light and metal: slender lengths of nylon filament suspend fragments of copper leaf, each one carefully gilded and held in tension between a steel top tray and a steel bottom tray. The copper catches and releases light as it hovers within this framework, while the concealed magnets fix each element in a precise yet seemingly weightless arrangement. Read as a small, contained atmosphere, Flux 1g turns a simple vertical gap into a column of shifting reflections—an intimate study in gravity, magnetism, and the quiet drama of gilded surfaces held just off the ground.
Video
Studio Aluma’s multisciplinary practice includes film making. We make short narrative and experimental films that sit between art, cinema and installation, often circling war, memory, and the transformation of matter over time. Our latest film is a contemporary dance piece.
Elevate spaces with timeless art that inspires and endures.
Discover your perfect masterpiece today!
Metals
Aluminium
Parthia II
Gilded metal leaf and oils on folded aluminium panel
Parthia II occupies the space between painting and sculpture. Gilded metal leaf and oil are worked directly onto a folded aluminium panel, so the support itself becomes an active part of the composition: edges catch the light, planes recede, and the surface shifts as the viewer moves around it. Across this structure, fine striations in the oil paint introduce a marbled tension—veins of movement that pull the eye through the work and subtly disrupt its calm, reflective field. The fragmented leaf sets up a calibrated play of gloss and matte, reflection and absorption, while the marbling in the paint holds an undercurrent of energy beneath the surface. The piece carries an architectural, almost archaeological presence, as if a fragment of a larger structure had been lifted out of time and refined into a self-contained object.
Copper
This repoussé copper work is the result of a fully manual, process-driven practice. A sheet of soft copper was laid directly over an old Victorian cobbled stable floor in Hartslane, London, then patiently beaten with a rubber hammer, allowing the metal to register every contour and irregularity of the surface beneath. The resulting topography is not an invented texture but a direct impression of a historic site—each rise and hollow a record of both place and gesture. The piece sits at the intersection of sculpture, print, and archaeology: a singular copper “skin” that preserves the character of 19th‑century stonework while foregrounding the physical labour of the artist’s hand.
Metal Leaf
Vent II
Metal leaf and oil on aluminium panel, detail from a 50 × 50 cm work
Fragments of metal leaf are gilded onto an aluminium ground, creating a fractured, luminous surface that oscillates between reflection and depth. The broken leaf allows the oil paint and raw metal to emerge between gilded passages, so the work shifts subtly with each change in light and viewing angle. As a detail from a larger 50 × 50 cm composition, Vent II focuses in on the tension between solidity and delicacy—where architecture, atmosphere, and abstraction converge in a single, concentrated field.
Art Installation
Preparation
Before we lift a single artwork into place, we carefully assess your space, structure, and access. Our team measures, plans hardware and fixing points, coordinates with building management, and protects both your interiors and the work itself. This preparation ensures that even the largest pieces are installed safely, precisely, and with minimal disruption.
Installing
On installation day, our team arrives with a clear plan, the right equipment, and a focus on care. We protect your floors and walls, carefully unpack each piece, and confirm placement on site before any fixings are made. Using professional‑grade hardware and coordinated lifting, we secure the work safely and precisely, fine‑tune alignment and lighting, then leave the space clean and ready to enjoy. Every installation is documented and handed over with clear care guidance, so your artwork can be lived with confidently for years to come.
Completion
Once the final adjustments are made, we restore the space to a pristine state—protective coverings removed, floors and walls immaculate, tools discreetly cleared away. We then walk you through the installation, piece by piece: explaining fixings and structure in clear, reassuring language, sharing recommendations for lighting and care, and noting anything unique about each artwork. You receive a concise handover pack with installation records, maintenance guidance, and any relevant conservation notes.
FLUX III
Flux III is a suspended sculpture composed of hundreds of finely cut lead fragments, each one individually gilded in gold leaf and painted in oils. Hovering in space rather than resting on a plinth, the work reads as a constellation of elements: a field of metal and colour that appears to hold its own quiet weather. From a distance, the fragments resolve into a single, flowing form; up close, every piece reveals the trace of the hand—brushstrokes, edges, and the subtle irregularities of worked metal.
Dialogue
The dialogue between lead and gold is central to the piece. The weight and darkness of the lead are transformed by the luminous skin of gold leaf, while layers of oil paint introduce shifts of tone and depth across the surfaces. These materials carry a long history of use in both sacred and industrial contexts, and in Flux III they are reassembled into something simultaneously precious and elemental: a suspended field that feels at once alchemical and architectural.
Light
Light activates the work. As the fragments catch and release reflections, the sculpture appears to shimmer and change with every step the viewer takes beneath and around it. Gold highlights flare and soften, painted passages deepen and recede, and the gaps between the fragments become as important as the fragments themselves. In this way, Flux III is less a static object than a temporal experience—an atmosphere of shifting planes and glints that invites slow looking, and rewards return visits with new constellations of detail.
Installations : Case Study: Paradise Lost
PARADISE LOST
Design and installation of a suspended sculpture to commemorate the 400th anniversary of the birth of poet John Milton. Set within St Giles Cripplegate, London, the work takes Milton’s ‘Paradise Lost’ as both text and atmosphere, translating the poem’s opening into a quiet, spatial experience.
A series of precisely laser‑cut sheets, each bearing lines from the first book of the epic, are suspended in a delicate cascade above the nave. From below, the fragments of text appear to drift in the air, catching light and shadow as they align with the church’s existing architecture.
As visitors move through the space, the verses reveal and conceal themselves, echoing the poem’s themes of fall, distance and illumination.
Rather than a single object, the installation behaves like a luminous veil of language: a suspended field of words that invites slow reading, contemplation, and a renewed encounter with Milton’s text in the very city he inhabited.
When sunlight streams through the church windows, it falls across the cut surfaces and onto the stone floor, illuminating individual phrases so that words appear and fade in bands of light. This quiet choreography of shadow and brightness animates the text, allowing the poem to be not only read but also seen as a changing, luminous presence within the architecture of the church.
The suspended sculpture is lowered to the floor, transforming from an overhead field of text into a walk‑through landscape of language. School groups are invited to move among the laser‑cut panels, tracing the lines of Paradise Lost with their hands and eyes, discovering how the poem has been translated into material form. At this scale, the work becomes a catalyst for conversation: pupils gather around individual fragments, discussing Milton’s imagery, the themes of loss and illumination, and the relationship between word, space, and light. The installation shifts from distant spectacle to shared study, turning the church nave into a temporary classroom for close reading and collective storytelling.
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