Established in 1998, Sarah Myerscough Gallery represents a distinguished group of contemporary craft and design artists, specialising in material-led processes with a focus on wood and natural materials. The gallery works in both public and private collections, maintains a full programme of exhibitions and participates in leading art fairs around the world, including TEFAF Maastricht, PAD London, London Design Festival, Design Miami and FOG Design + Art San Francisco.

The gallery represents highly-skilled international artist-designer-makers, whose practices are grounded in craft-making traditions but defined by contemporary innovation and invention. Through diverse making processes, they collectively embrace the complex intersections between history and future; hand and technology; form and function. By curating a specialist programme of exhibitions, the gallery aims to support this movement within the arts, which advocates the importance of retaining elements of the past, to mould a vision of the future.

The gallery’s aesthetic is centred on material-led processes and relishes the connection to the natural world: organic material and form, with a focus on wood. It embraces the elemental and the imperfect and seeks creative authenticity and integrity, indulging in texture, tactility and sensory experience, which informs each object and unique sculptural furniture piece. Nick Compton in Hole and Corner comments that, 'Sarah Myerscough represents a collection of more than 20 artist-makers – and together they represent a unique and compelling take on what contemporary craft can and should be; not perfect or obviously pretty, nor backward looking, but born of an intimate understanding of material and the cause and effect of craft skills'.

Sarah Myerscough aims to promote this new breed of artist-designer-maker at the highest level by exhibiting at the world’s pre-eminent art, design and craft fairs and placing works within significant private and public collections. It brings their practices to a wider international audience, so that their exceptional creative vision is properly acknowledged.

Essentially, the ultimate ambition is an engagement with unique art, design and craft pieces, which are imbued with narrative and material intelligence. This concept is perhaps best described by Glenn Adamson in his book Fewer, Better, Things (Bloomsbury New York, 2018): '…What if we were to approach every object according to its potential narrative and meaning - the way that we give a toy to a child or a ring to a spouse? …If we were to bring objects into our lives one by one, each time with genuine care, it would be better for us, better for society, better for the planet.'