A collection of pictures became a catalogue raisonné that feeds the gallery, search engines and recommendations.

Bilingual means more here than a second interface. All 98 artwork titles were translated individually and approved by the artist, because a title is part of the work, not a label. Where a title is already in English or is a proper name, it stays as it is.

The addresses are translated too, not just their language code:

Canonical, hreflang and x-default tags connect both versions, and visitors switch between them without losing the work.

The gallery loads its works progressively and draws the museum wall in the browser. For visitors, that is the right approach. A crawler that does not execute JavaScript would see hardly any of it.

That is why there is the catalogue: all 98 works on one page, in the delivered HTML, each with a thumbnail, year, work number, availability and a link to its artwork page. It is built primarily for search engines and AI systems. For people, it is the quickest way to a specific work.

The virtual museum wall is not a static background image. Wall, floor, skirting boards, lighting and picture frames are created in the browser – from gradients, shadows, light cones and selected material textures. The stage set is displayed on a drawing surface (canvas); the artworks remain independent, clickable elements in front of it.

This makes it possible to present artworks of different formats and frames within the same setting. A dedicated layout logic takes their actual proportions into account and arranges them into balanced rows.

The mobile view also uses its own image arrangement and adapted crops.

The works divide along the artist's biography: cyanotypes up to 2016, pyrographs since 2017. The old website separated them into two sections, and sorted by year, 47 pyrographs would have come before the first cyanotype.

The order is therefore curated, but only at the beginning: ten works chosen by the artist open the gallery, after which the techniques alternate automatically. Because new works today are exclusively pyrographs, the balance takes care of itself this way. A manually maintained list would tip out of balance again with every new work.

On the old website, the contact form and visitor statistics were switched off because the site had no technical way to handle consent. Today Woop Art uses our own consent management: analytics services only load after consent is given, every decision is logged with its version and timestamp, and visitors can change it at any time.