An artist's career, in 2026, is held together by people who each see only their slice. A gallery sells the work. An advisor places it. A studio manager runs the day. No one is paid to hold the whole, on the artist's side, across ten years.

That gap is the work.

One point of contact. Long horizons. Quiet rooms.

We do not represent the gallery, the buyer, or the institution. We represent the artist, in conversations with all of them.

We move slowly, but we move every day. The studio is left alone. The artist works.

We bring together the parts of a career that normally live apart. The studio, the gallery network, the institutional calendar, the secondary market, the press cycle, the legal and tax stack. Inside Sora these are one operation, run for one artist at a time.

We treat infrastructure as carefully as we treat the work. Contracts, archives, pricing histories, edition records, loan trails, contact networks. The unromantic parts of a career are where careers compound — and where we are at our best.

We build our own tools. Pricing models, collector intelligence, market signal tracking, archive systems. Software lets one person look after a career the way ten people used to.

We hold the long view. Institutional placement, auction timing, edition strategy, archive succession — the decisions that pay off in years, not months. We staff and plan for that horizon.

We work with a small group of artists. Every relationship is bespoke. Nothing is templated.

Sora works with a small group of artists at a time. We take on new work by introduction or by direct request, after a conversation. There is no application form.

A first meeting is a conversation about your last five years and the next ten. We do not ask for portfolios — we ask what you want the career to look like.

If we work together, the relationship is long-form. We sign nothing on the first meeting.

The whole career, not a slice of it.

For the work, and the world around it.