Established in late 2024, London-based Gallery Les Bois has already made bold moves within the sphere of sustainability and contemporary art. Developing a new gallery model in which both environmental responsibility and artistic rigor are approached with equal enthusiasm, rather than an either/or mentality, Gallery Les Bois is carving a new path within the context of the contemporary art world.

Featuring a diverse roster of artists, from emerging to established, the gallery itself is not only an example of new approaches to sustainability but a platform for artists working with innovative materials and techniques that facilitate not only self-expression but also eco-conscious modes of artmaking.

With the recent debut of the gallery, we sat down with gallery Founder and Director Claire-Julia Hill to learn more about what led her to taking such an intrepid stance with her first gallery, and what’s next on the horizon for Gallery Les Bois.

Founder and Director Claire-Julia Hill. Courtesy of Gallery Les Bois.

Can you tell us a bit about your background and what initially inspired you to found Gallery Les Bois?

In 2016, I arrived at Cambridge University to study art history. Coming from a state school in Wales, I now found myself in an extraordinary melting pot of ideas and disciplines, all buzzing together. I was in awe, and so deeply grateful to be where I was. I was struck by how sustainability and circular design were being explored across departments like engineering and architecture, and how urgent and innovative those conversations felt. I remember at the time thinking, “But what does this look like for the art world?”

That feeling stuck with me and led me to found Gallery Les Bois.

Launching the gallery at 26 was definitely a leap, but it came from a determined belief that sustainable art could be beautiful, conceptually rigorous, and investment-worthy all at once. I’m constantly inspired by the artists we work with and the collectors who share this vision. It’s very much a collaborative effort to sculpt Gallery Les Bois, and I am so excited for what is to come.

Steve Foster, Raspberry Ripple (2025). Courtesy of Gallery Les Bois.

How would you describe the core ethos or mission of the gallery? How is this reflected in the art and artists that you show?

The core ethos of Gallery Les Bois is to place sustainability, integrity, and aesthetic excellence at the center of everything we do, using these values to guide our curatorial programming. Our mission is to champion artists who are redefining contemporary art through critically ambitious and ecologically conscious practices.

Many of our artists are pioneering circular practices, transforming natural resources from impacted waterways into vibrant, sustainable pigments, repurposing textile waste into sculptural works, and reinvesting proceeds into ecological restoration. Their work is as thoughtful as it is visually compelling, showing that serious, collectible art can also be a force for environmental repair. For me, it’s about creating a thoughtful, forward-looking ecosystem for art, one that never sacrifices depth or beauty.

This ethos is reflected not only in the art we show but also in our operations, from carbon-tracked shipping to partnerships with environmentally aligned suppliers. By integrating responsibility with aesthetics, we aim to offer collectors and the public work that resonates, inspires, and contributes to a more sustainable cultural future.

Artist Sienna Martz. Photo: Joy Masi. Courtesy of Gallery Les Bois.

Can you talk about some of the artists you have worked with recently? What about their work specifically spoke to you?

We’ve been incredibly fortunate to work with artists who are not just pushing boundaries in terms of material innovation, but who are also deeply committed to sustainability. That combination is endlessly inspiring—and it makes our curatorial programming feel so energizing to be a part of.

Take John Sabraw, for example. His work with scientists to extract iron oxide from polluted streams in Ohio and turn it into these lush, vivid pigments is nothing short of brilliant. What’s especially powerful is that his paintings don’t just raise awareness—they actively fund the environmental cleanup. It’s art as both a message and a mechanism for change.

Then there’s Sienna Martz, whose fiber sculptures are handwoven from plant-based and recycled materials that would otherwise have gone to landfill. They’re incredibly tactile, layered with meaning, and really speak to a slow, mindful process—there’s a quiet poetry to the way she works that resonates on both a visual and conceptual level. Steve Foster’s botanical paintings offer a different kind of intimacy with nature. They capture these fleeting, delicate moments, and they’re underpinned by a studio practice rooted in sustainability. He’s someone who really believes in the power of small, consistent changes—and that ethos comes through in every piece.

Then we have Volcan Studio, the Dutch Colombian duo, who transforms urban debris into layered, mixed-media artworks that not only explore resilience, memory, and identity, but also champion sustainability by repurposing overlooked materials from city streets. They turn the discarded into powerful narratives, revealing the hidden beauty and potential of regeneration in our urban environments, and that’s exciting. And across the board, we’ve seen such inventive, diverse approaches from artists like Sandra Junele, Saskia Saunders, Miranda Carter, and Oliver Akdeniz. Each of them is engaging with sustainability in a way that feels urgent and deeply personal, but also joyful and full of possibility. They’re not just responding to the moment—they’re helping to shape it.

John Sabraw, Chroma S4 Nebula (2017). Courtesy of Gallery Les Bois.

With a focus on operational ecological sustainability, what are some aspects that you have found most rewarding or challenging? What do you think more people should know about it?

One of the most rewarding parts is seeing how even small shifts can have a ripple effect. Whether it’s carbon-tracked shipping, rethinking how we install exhibitions, or working only with suppliers who meet strict environmental standards—it adds up. It’s especially powerful when collectors or peers ask how we did something, and it sparks a wider conversation.

That said, it’s not always easy. Sustainable choices can be more time-consuming, and often there isn’t a ready-made solution—you must get creative or accept compromise. But I think the biggest misconception is that it’s all or nothing. In reality, it’s a series of conscious decisions, made consistently. You don’t have to be perfect, you just have to care enough to keep trying. Operational sustainability isn’t about optics; it’s about building a culture of responsibility, and that’s something I think more people are ready for than we give them credit.

Oliver Akdeniz, Clarity I (2023). Courtesy of Gallery Les Bois.

What do you see as the role of art in society today? Collecting?

Every day, with every purchase, we’re casting a vote, whether we realize it or not. Research shows that collectors are increasingly aware of this power; what we choose to buy signals our values and shapes the culture around us. The new generation of collectors is especially tuned in, they’re curious, open-minded, and culturally literate, and they’re asking all the right questions: What does owning this artwork say about my stance in the world? How does this artist’s process or message align with the future I want to help build?

The most exciting collectors today see every acquisition as a ripple effect, a conscious act that can accelerate change and spark conversations. In this landscape, art’s role is more than ever about shifting perspectives and empowering both artists and audiences to imagine and vote for a better future, one artwork at a time.

What’s next? Is there any gallery news or plans that you can share with us?

We’re really excited about what’s happening at Gallery Les Bois right now and encourage people to sign up for our newsletter to stay tuned. Our opening has already sparked some great conversations, and being shortlisted for the National Green Growth Awards feels like a real nod to our commitment.

We have also just launched LES BOIS MAG, our new magazine that digs deeper into the ideas and artists shaping sustainable art’s future. Coming up, our inaugural exhibition in June will spotlight artists working with everything from recycled plant fibers to urban debris, pushing what sustainable art can be.

On top of that, we’re growing our collector circles to create more meaningful connections between artists, curators, and buyers who care about ecological impact. It’s an exciting moment, and we’re eager to keep building this movement thoughtfully and collaboratively.