On framing the work
A gallery hangs one artist at a time and doesn't pretend the walls belong to it. Neither do we.
The house is neutral on purpose. White walls, thin rules, almost no colour of its own. That is not minimalism as a style preference — it is the same reason a gallery paints its walls the colour it does. Anything with a strong opinion competes with what is hanging on it.
Each line we represent brings its own hand: its own name, its own palette, its own way of presenting a drop. When you are on a line's page, you are in their room, and it should look like theirs. When you are anywhere else, you are in the corridor, and the corridor is quiet.
The practical version of this rule is boring and we follow it strictly: an artist's colours never appear in the header, the footer, or anywhere else in the shared chrome. The moment the house starts wearing one line's identity, it stops being a house and becomes that line with extra steps.
It also means we can represent things that don't go together. A loud line and a restrained one can both be here without either being sanded down to match, because the only thing they have to share is the standard, not the look.