The Art of
Controlled Accidents.
One-of-a-kind pieces poured since 2021
0
Identical pieces. Ever.
48h
Average cure time per piece
"Every pour is a negotiation between intention and entropy. The resin decides. The paper yields. I just hold the vessel and watch something irreversible begin."
Pour Studio
Working artist · since 2021
From Pigment
to Paper.
A field guide to the pour. Three stages, each with its own logic. The fourth stage belongs entirely to chemistry.
Kozo paper is torn by hand, never cut — the irregular fiber edge becomes part of the composition. Each sheet is pre-soaked in diluted gesso for 12 hours.
Pigment ratios are measured to the gram. Then the variables take over — ambient temperature, paper grain, the angle of the pour. Control ends at the vessel lip.
Gold leaf is applied during the open window — the 4-minute period when resin is tacky enough to hold inclusions but fluid enough to pull them under the surface.
All photography captured during active sessions · Natural light only · No post-processing on pour images
The Craft
Moment.
Resin-and-paper work is moving from niche Instagram subculture to editorial surfaces. Three signals worth watching — each pointing toward the same conclusion.
01
Kozo-Resin Layering
Handmade Japanese kozo paper — traditionally used in printmaking — is gaining traction as a resin substrate. Its long fibers create unpredictable bleed patterns that synthetic paper suppresses entirely.
+340%
search interest since Q3 2024
02
Inclusion Economy
Gold leaf, dried botanicals, and crushed mica are displacing glitter as the inclusion materials of choice. Collectors now specify inclusion types in commission briefs the way they once specified color.
68%
of commissions specify inclusions
03
Flat-Lay Sourcing
Interior stylists and brand photographers are actively sourcing one-of-a-kind resin trays and coasters as hero props. The demand is for objects with enough visual texture to anchor a composition.
3×
growth in stylist direct inquiries
"The collectors who are paying attention now will have the provenance stories in five years. The work being made in studios like Pour today is the kind that ends up in the background of magazine shoots — then on the walls."
— Craft & Interior Quarterly, Feb 2026
Objects That
Stay.
The people who own Pour pieces don't just display them. They orient their spaces around them.
I bought a tray for a shoot. Six months later it's still the first thing people ask about when they come into my studio. I've commissioned three more pieces since.
Margot Hensley
Interiors Stylist · Brooklyn, NY
Owns: Indigo Tide Tray, 2024
"I've been collecting resin work for four years. Pour is the only account where I check Instagram the moment I see a new post — the process videos alone are worth following for."
Theo Nakamura
Collector · San Francisco, CA
Owns: Gold Leaf Series No. 7, 2025
"The coaster set sits on my Midori Traveler's Notebook station. Every time I sit down to journal I spend a full minute just looking at it. You can't manufacture that feeling."
Simone Brault
Journaling Obsessive · Montreal, QC
Owns: Blush & Indigo Coaster Set, 2025
Follow
now.
Pour is mid-rise. The work being made right now — the kozo-resin experiments, the gold leaf series, the commissions shipping this month — is the catalog that matters. Following now means watching the story unfold, not catching up later.
Each new piece posted to Instagram before the shop. Followers see the pour before the listing goes live.
2,400+ pieces poured · Zero identical · Ships worldwide
Resin & Paper · Working Artist · Since 2021