We’ve been fortunate to collaborate for many years with our good friend and long-time creative partner, Deknoo, an artist based in the cultural heart of Ubud, Bali. His latest work for us, Gajah Waktra, invites us deep into the world of Balinese myth through intricate pen-and-ink linework enriched with natural pigments on paper.

Gung Ama is no ordinary photographer. He works with an Afghan box camera he built by hand—an analog portal in a digital world. But the camera is only part of the story. In Bali, there’s a word for what his work holds: taksu. It’s not just talent—it’s a sacred force.

Sculptures wore red hibiscus, their stone faces watching as ancient frangipani twisted toward the sky. Cobras and dragons guarded the stairway .

The performance ended like a sudden storm, leaving the air charged and alive. We followed through the maze of Golden Gai, drinking under dim lights in bars & otherworldly dens.

Each piece, born from hand-painted visions, carries the weight of old gods, wild stories, and the hallucinations of cultures long forgotten.

In a storm a tiger, a monkey, a snake, and a goldsmith are swept into a well. Fortunately, a priest named Dharmaswami comes across the well and rescues them.

The Kecak Dance originate from the Balinese ancient ritual  called Sanghyang. A trance ritual accompanied by a male chorus. This dance was not exhibited as entertainment but is a specific series of sacred ceremonies intended to ask for safety from disaster and to clear away or wards off evil spirits.  

Our loyalties are to the species and the planet. We speak for Earth. Our obligation to survive is owed not just to ourselves but also to that Cosmos, ancient and vast, from which we spring

Silk, a fabric synonymous with luxury, is notoriously delicate. The creation of a single printed silk shirt unfolds like a carefully choreographed performance.

In the heart of Bali's Ubud, the tropical breeze carries the whispers of tradition through dense jungles, a modest workshop upholds an age-old craft: natural indigo dyeing.

Chasing shadows through Cartagena's ancient streets.

What was good about Britain in the 1980s was that it was still that punk aesthetic – have a punt on it, if it’s different, it’s good

Hazy days by the Mekong River​.