Independent concept / Contemporary art
A decade of work existed. The archive did not.
Sasha’s installations moved between material, memory and migration. Curators encountered them as isolated posts and expired PDFs. WGS designed a living archive that preserves context while remaining usable to institutions, writers and collectors.
- Project
- Sasha Mirev
- Territory
- Sydney / Naarm-Melbourne
- Year
- 2026
- Scope
- Archive diagnosis, curator, researcher and collector journeys, relational content model, responsive archive interface, rights and credit system, validation plan
01 / The business reality
The context before
the interface.
Sasha’s fictional interdisciplinary practice spans installation, sculpture, sound and photographic documents. The body of work matters as a network: objects appear in installations, exhibitions produce texts and photographic records preserve temporary work.
The current materials do not preserve that network. Curators repeatedly request the same files, credits vary and older work overwhelms the current PDF while current work lacks space.
02 / Visible request
“I need a cleaner artist portfolio.”
03 / Actual diagnosis
A cleaner grid would preserve the confusion. The website must distinguish artwork from series, installation view from work record and exhibition from either. It needs slow looking alongside precise metadata, rights, documents and discreet professional enquiries.
04 / Audience journeys
One world.
Different reasons to enter.
Curator or institution
- Referral
- Current practice
- Relevant series
- Exhibition history
- Resources and enquiry
Writer or researcher
- Work or exhibition
- Connected text
- Documentation
- Citation and credit
Collector or adviser
- Selected works
- Scale and material
- Context
- Availability enquiry
General audience
- Image-led entry
- Body of work
- Relationships
- Deeper context
05 / Central insight
The archive should be relational, not a chronological dumping ground. The interface can remain quiet because the content model carries the complexity.
06 / Strategic response
The system behind
the atmosphere.
A relational artwork system joining slow looking to precise metadata, rights, documents and enquiry routes.
- 01Current work
- 02Works by series
- 03Exhibitions
- 04Texts and conversations
- 05About the practice
- 06CV
- 07News
- 08Press resources
- 09Enquiries
07 / Visual world
A visual language with a job.
Gallery white without gallery sterility: mineral grey, oxidised green and restrained vermilion. The artwork determines each media ratio. Typography is archival and contemporary; motion is almost invisible and never performs over the work.
08 / Key experience decisions
Design choices,
with reasons.
Artwork proportions remain evidence.
- Why
- Variable-ratio media and stable captions replace forced identical crops.
- How to validate
- Review every sample work at desktop and mobile ratios.
Works, series and exhibitions are different entities.
- Why
- Labels, breadcrumbs and relationships make the archive legible without turning it into database theatre.
- How to validate
- Test whether users can explain each relationship.
Downloads are approved and current.
- Why
- CV, biography and press images carry dates, versions and credit requirements.
- How to validate
- Ask a curator to retrieve one approved image and the current CV.
09 / Responsive + technical layer
The world still works
at 320 pixels.
- Mobile preserves artwork ratios and keeps captions with images.
- Metadata uses labelled definition lists rather than wide tables.
- High-resolution press downloads remain separate from page images.
- Rights and photographer credits stay attached to every use.
- Relationships are modelled once rather than duplicated across records.
10 / Honest evidence
Validation plan,
not invented results.
These checks are planned for the interactive build. They are not presented as completed outcomes.
- 01Audit metadata completeness across the sample archive.
- 02Retrieve the current CV and one approved image.
- 03Distinguish work, series and exhibition.
- 04Validate alternative text, captions and rights credits.
11 / What this proves
Sasha Mirev proves that WGS can treat an artist’s body of work as culture and information at the same time. The visual quiet is made possible by a precise archive underneath it.
WGS Lab
Interactive build
coming later.
The Lab edition will model one series, one exhibition, connected works, a current CV and professional resource access.
Interactive build coming later
Recognise this problem in your own work?
A body of work deserves more than a grid.
WGS designs cultural archives that protect the experience of the work while making records, relationships and professional materials genuinely usable.