We are an independent contemporary art practice, and photography is in our DNA, serving as the thread that connects technique with the art of writing with light. From the intersection of photography and hybrid visual arts, Blood Lime Art Studio was born.
Our photographs offer visual poems that influence viewers toward visceral, sustained contemplation of their own pace and place, and our art must speak to your soul. We combine decades of photographic assistance, material research, and a surgical crossing of disciplines, producing fine art works conceived for collectors and architectural spaces, as well as warming your hearth.
Each work is produced as a strictly limited edition or as a one-of-one, printed to order and finished entirely by hand: blind-embossed, stamped, numbered, signed, and accompanied by its own certificate of authenticity. The edition size is established before the first sale, and sold-out editions are forever closed, with no additional prints ever produced, preserving the exclusivity of each of our works.
The name Blood Lime Art Studio comes from a rare hybrid fruit, a blend of mandarin and lime. It carries both citrus and sweetness in its flavour, but its most striking quality is hidden, and its secret is only revealed when it is cut open. The contradiction, combining precision and instinct, rigour and research, and the familiar made strange, is what we do best.
You're invited to experience our work of art and feel it for yourself.
The Artist
Everton Funghi grew up inside a photography lab before he ever held a camera.
Born in Belo Horizonte, Brazil, in 1984, he spent his childhood in his father's photo lab, Flash One, a professional processing laboratory. The smell of chemistry was constant. By the time he was ten, Everton was already there after school most days: pulling film leaders, loading paper into printers, learning to read a negative, mixing chemicals, running C-41, E-6, black and white, and cross-process. Not as a student, but as someone for whom this was simply the texture of daily life.
That proximity to the process shaped everything. He learned photography backwards: from printing and developing film to post-production and only then to the cameras, through the precise and unforgiving logic of light-sensitive surfaces, chemical reactions, and calibrated colour profiles and papers. Constant exposure to architectural and still-life photography, fashion photographers, and countless artists further deepened his understanding of the craft. A particular admiration for macro photography emerged during this time, revealing something he would never forget: the world holds entire landscapes inside the things most people never stop to look at.
In the late 90s, the shift to digital photography began reshaping the industry, and Everton was there during that transition too. The hybrid minilab systems, the first digital files exposed onto traditional photographic paper: a new era of image-making had begun, and his first contact with digital post-production came with it. From his mid-teens onward, he worked as an assistant to photographers and studios across Brazil and, later, France, absorbing the knowledge of those mentors and the relentless technical precision each demanded.
He studied graphic design in Brazil before moving to France in 2009 to pursue cinema studies in Amiens, design and fine arts in Saint-Étienne, and photography in Paris. Adjacent disciplines, all converging on the same restlessness: a constant search for writing with light.