On the art of editing

There is a particular kind of room that photographs beautifully and, when you walk into it, feels like it is performing. Every surface has been styled. Every corner has been filled. The room is full of proof.

We are not interested in proof. We are interested in composition, and composition is, more than anything, the practice of knowing what to leave out. Our studio’s working method is closer to editing a manuscript than to decorating a room. We start by reading what is there. We ask, of every object: does this earn its place? If the answer is uncertain, the object waits.

The finished room is not minimal. Minimalism is a style, and styles go out of favour. The finished room is simply intentional, which is a kind of beauty that does not date.