FILE 002 — STUDIO
A working workshop, not a brand exercise.
Evil Genius Studios came from a real manufacturing facility. The name started as workshop banter — the evil from the chaos and the videos, the genius from working out how to make awkward, technical, unusual projects.
For more than ten years, the founder quietly helped artists, designers and creative clients manufacture artwork, sculptures, interiors, signs, furniture, lighting features, commercial fit-out pieces and unusual creative projects.
A lot of that work was private or confidential. Some artists did not want to publicly reveal who helped manufacture their work. We're comfortable with that. It's part of the job.
We do not start with the machine. We start with the idea.
Artists usually know what the finished work should feel like, but not necessarily the best way to manufacture it. We help decide whether it should be made from wood, metal, print, acrylic, solid surface, resin, 3D printing, lighting, electronics, coding, casting, movement or mixed media.
FILE 002a — ORIGIN
From hospitality fit-out to one-off art.
The factory didn't start as an art studio. It started as a manufacturing plant for the hospitality trade — commercial seating, furniture, signage, fit-out. Volume work, repeat work, the kind of work that sharpens a workshop into something that can actually deliver.
The founder has always loved making art. But he's never wanted to chase one niche or build a single signature style. Instead of forcing his own, he found more joy in helping other artists bring theirs to life — a different brief every week, a different problem every Monday.
One week it's a 20ft tall blow-up sculpture. The next it's a 3D form hand-carved out of solid wood. Every job is unique, every job is different, and that's where the love is — taking someone else's concept and delivering it.
Every. Single. Time.
FILE 002b — WHAT YOU WON'T SEE
Most of the work never goes online.
We can only show a fraction of what we make. A lot of our clients — including some of the world's best-known artists — don't want their fabrication partner named publicly. That's part of the deal, and we respect it.
What you see on this site is the tip. Behind it sit major commissions, museum pieces, gallery shows and brand work we'll never talk about. If discretion matters, you're in the right place.
FILE 002c — REACH & RIG
Contacts across Europe and Asia. Machines we built ourselves.
We work with trusted partners, suppliers and installers across Europe and Asia, so a project doesn't stop at the workshop door. We can source, ship, install and finish almost anywhere.
When the kit on the market couldn't do what a client needed, we bought machinery and modified it ourselves. That's how we end up making everything from neons to sculptures, from precision print runs to 20ft tall inflatable sculptures and 40ft long, 12-tonne Corten Steel lettering for local authorities.
People come to us because we manufacture. They stay because we're a one-stop shop — multi-media specialists who literally make the impossible, possible.
10+
YEARS
5,000
SQ FT
1
FOUNDER-LED
∞
NDA WORK
FILE 002d — PROTOTYPE TO MARKET
Prototype. Production. Installed.
Worldwide.
We don't stop at the prototype. Once the idea is alive in the workshop, we can take it to market with you — scale the production, hold the quality, manage the runs.
We build it. We crate it. We install it. Anywhere in the world. One studio, one signature on the invoice, from sketch to standing on a plinth in another country.
We are genuinely here to bring your vision alive.
FILE 002e — THE NETWORK
In-house first. A vetted network behind us.
The vast majority of work is made in-house. On the rare occasion something falls outside our walls, we have a vetted network of specialist partners at our fingertips — bronze casting foundries that only do art pieces, glass studios, specialist patination, heritage finishes.
You still deal with us. One brief, one producer, one invoice. The partners stay invisible. The quality control stays ours.