Mineral Forms
Stone, crystal and metal studied as if they were living things.
Digital art gallery
Art is our language.
The one brand in this house that isn’t a technology venture. Duke&Lume is a body of original digital painting — 49 works across eight curated collections — and a museum-quiet room built for the single purpose of getting out of their way.
The idea
A room, not a feed.
Most places that show art online are shops with a gallery attached, or feeds that reduce a painting to a thumbnail between two advertisements. Duke&Lume is the opposite proposition: a warm milky room, large serif type, an asymmetric editorial grid, and motion slow enough that you stop noticing it. Nothing on the page competes with what is hanging on it.
The works themselves are digital paintings — jewelled birds, dissolving porcelain, rooms furnished for someone who never arrives — built up in heavy digital oil and worked over by hand at full size. They are grouped into eight collections, each one an argument rather than a folder.
“We do not paint objects. We paint impossible memories.”
It sits in the Rasveda Labs portfolio under its own heading for a reason. The rest of the house is measured in shipped features, test counts and honest status badges. This one is measured by whether the work is any good — and the engineering exists only to make sure nothing gets in the way of that judgement.
The wall
Three works, hung as the gallery hangs them.
Every work carries a museum label: title, year, collection, and the one line the artist would say about it standing next to it.
The Sovereign
Authority without a throne.
Porcelain Requiem
A vase caught mid-dissolution, its roses drifting into ink.
The Long Field
One tree, keeping the whole plain.
Shown here at portfolio scale. In the gallery each work opens to a fullscreen viewer with zoom, pan, swipe and keyboard control, and every image is served with a generated low-quality placeholder so the layout never jumps while it loads.
The collections
Eight rooms, in order.
A collection is curated, numbered and introduced — not a tag. Works move between them and collections are dissolved when they stop earning their place.
Ornamental Nature
Growth, decay and organic form — the precious detail found in nature.
Noble Creatures
Portraits of imagined beings, crowned in gold and quiet authority.
Imagined Interiors
Rooms that never existed, furnished and left unoccupied.
Personae
Portraits of character — faces met, imagined or remembered.
Reliquaries
Husks, pods and petals cradling a gemstone heart — vessels made to keep something.
Allegories
Objects arranged to carry an argument — old symbols painted plainly.
Conditions
Ordinary places under one impossible condition, photographed straight.
How it’s built
Send the painting. That becomes one commit.
The point of the architecture is that hanging a new work never touches a component. Every artwork is a typed entry in a content layer whose shape deliberately mirrors the CMS schema it will migrate to, so the site can move to a real editor later without being redesigned around it.
Content is data
Works, collections and site copy live in src/content as typed
entries; the front end only reads. Adding a work is a file in a folder and
one object — image, dimensions, alt text, collection, where it hangs.
The layout never breaks
Until an image file exists, an entry renders as a composed tonal panel drawn from its own colour pair. A half-finished collection looks deliberate rather than broken.
An empty field claims nothing
The model already carries edition, print and price fields for a future commerce stage. The artwork page prints only what has actually been decided — no invented edition size, no placeholder price.
The form tells the truth
Inquiries send through Resend. With no key configured the contact form says so plainly and hands over the email address, rather than pretending to have sent something.
Design language
Quiet museum.
Warm milky paper, near-black ink and a single muted bronze used only for marks
and rules. Display type is Cormorant Garamond — chosen after
Instrument Serif, which was narrow enough to read as vertically stretched at
display size — with Inter underneath it. Corners stay square.
One easing curve governs every transition, and all of it stands down under
prefers-reduced-motion.
- Paper · #F5F3EF
- Surface · #FAF9F6
- Bronze · #8B7252
- Dark room · #151716
- Cormorant Garamond + Inter
- Asymmetric editorial grid
- Bronze for marks only
- Square corners
- One easing curve
The build
Stack.
Next.js 15 (App Router) on React 19 and TypeScript, styled with Tailwind v4 tokens declared once in a single theme block. Framer Motion and view transitions handle the quiet movement between pages. Every route is built — home, gallery with URL-synced Exhibition and Archive filters, collections and collection pages, artwork pages with a fullscreen viewer, About, and a working contact form — plus robots, sitemap and a manifest. Vitest covers the content model, Playwright walks the desktop and 320-pixel journeys, and one command runs typecheck, lint, tests and build together.
Next.js 15React 19TypeScript
Tailwind CSS v4Framer Motion
View TransitionsResend
VitestPlaywright
Status
Live · dukelume.com
Open.
The gallery is published and serving at www.dukelume.com. Every page exists and every page is filled with real work — 49 paintings across eight collections, no placeholder copy anywhere. Two things are deliberately still off:
- Commerce is modelled but not switched on: works are marked inquiry-only, and no checkout exists.
- The content layer still lives in the repository; the CMS migration it was shaped for hasn’t happened yet.
A collection of works born from imagination.
Duke&Lume is the art house of Rasveda Labs. For acquisitions, exhibitions or commissions, the door is the same one.