Creative Identity is one of the next great
economic frontiers.

“In a world increasingly defined by standardisation and optimisation, one of the last great sources of value will be the out of the box, the unorthodox, the creative.”

What we do

The House of Creatives is a London-based creative-financial infrastructure company. We are developing the systems through which an individual creative practice can be structured as an enterprise, connecting corporate structure, creative works and verified market history while preserving the independent cultural value of the work.

Put simply, we structure the economics around art, so that art itself can remain art.

Infrastructure

Creative enterprise: HoC provides the legal and corporate infrastructure through which an eligible artist or creative practitioner can establish a company around the economic activity of their practice, with defined ownership, governance and financial records. The artist remains responsible for the direction of the creative practice.
Creative assets: Individual works remain independently identifiable cultural assets. HoC establishes structured records connecting works to their creator, provenance, transaction history and, where applicable, the wider corporate structure of the creative practice.
Professional and market record: HoC brings together information that is normally fragmented across studios, galleries, auction houses, collectors and institutions. This can include primary and secondary transactions, representation, exhibitions, institutional acquisitions, commissions, provenance, waiting lists, sell-through and other documented career events.
Indicators: Rather than assigning a single score to an artist, HoC records multiple indicators of development over time. These can include revenue and revenue growth; median work price and price growth; primary-market sell-through; unique and repeat collectors; collector concentration; waiting-list development; secondary-market activity; exhibitions; institutional acquisitions; commissions; audience-to-collector conversion; operating expenditure; debt; profitability; and other applicable company financial information.

Who it serves

Artists: Artists gain corporate and governance infrastructure, structured professional and commercial records, ownership information and financial reporting. The objective is to give an artist greater visibility over the economics of their own practice and stronger information with which to negotiate with collectors, galleries, institutions and commercial partners.
Collectors: Collecting remains collecting. Collectors can continue to acquire works for their cultural and personal significance, while HoC can provide additional information including verified provenance, ownership history, historical transactions, career activity and information concerning the artist’s wider enterprise.
Galleries and auction houses: HoC is designed as infrastructure for the existing market rather than a substitute for it. Galleries continue to represent, exhibit and sell artists; auction houses continue to facilitate secondary-market transactions and price discovery. HoC can provide an additional verified layer of artist, work, provenance, ownership and market information around those activities, which can in turn make the economics of the exhibition model more predictable for galleries.
Institutions: The same structured information can have different applications across the ecosystem: museums can access provenance and institutional histories; insurers can use authenticated ownership and provenance records; accountants can work with structured company information; banks and wealth managers can access richer historical information where assessing creative assets or enterprises.

Vision

Market development: HoC’s longer-term objective is to build a standardised longitudinal record connecting creative careers, cultural objects, collectors, company economics and capital. Existing art-market signals are preserved rather than replaced; HoC’s role is to make them more structured, comparable and useful over time.
The artist philosophy: Underlying this infrastructure is a broader ambition: to make the artist way of life a more viable and dignified commitment, giving practitioners the economic foundations to pursue unconventional work with greater independence, rather than forcing creative practice to conform to conventional models of productivity.

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