For artists
Spotify for art — your work earns for every hour it is on somebody's wall, not once when it sells. The difference is that the split is published: a fixed share of every subscription goes into a pool, the pool is divided by hours actually shown, and the arithmetic that does it is set out further down this page.
Mirra screens hang in kitchens, hallways and studies and stay on from breakfast until bed. A collection here is shown the way a frame shows a painting — full bleed, uncropped, unhurried — and when somebody asks the mirror what they are looking at, it tells them, in your words.
Reviewed and invite-led. Every collection is looked at by a person before it is listed.
Which matters, because it changes what your work can do once it is up there.
Ask “what am I looking at?” and the mirror says the title, the year, the materials and whatever you wrote about the piece. Not a caption nobody reads — a spoken answer, in the room, at the moment somebody is curious.
The screen knows the weather, the hour and who walked in. Work can be chosen to suit a grey afternoon, and the lights in the room can be tinted to the colours in your piece.
Because the screen reports what it is showing, we can pay on hours a piece was genuinely lived with rather than on impressions. No gallery has ever been able to tell you that number.
One income stream, plainly stated, and it is the unusual one. No exclusivity — your work stays yours, and you can sell it anywhere else you like.
Free
Nobody buys your collection. Once it is listed, any paying home can put it on a wall — which is the point: what you earn depends on how much your work is lived with, and a price tag is a barrier between your work and the wall.
£100
Your hours accrue every month, whatever they come to. Once the balance passes £100 you can ask for it, and a person makes the transfer on the fifteenth. Below that it rolls forward — a transfer costs the same to make whatever its size.
15%
15% of every paying household's subscription, after card processing, goes into a monthly pool divided by how long each artist's work was actually displayed. Nobody has to buy anything for you to earn from it.
The pool is published every month: what went in, the platform's total qualifying hours, your hours, and the arithmetic between them. The reason artists distrust pooled models is that the maths is hidden — so ours is not.
Move the sliders. The percentages here are read straight from the code that does the paying, so this cannot quote you a split we do not honour.
£130.00
a month, before tax
15.00% of each home's £6.00 plan — £0.82 — goes into the pool, and you take the share your work was actually up for.
An estimate, not an offer. Wall-time depends on the whole platform's viewing in a given month, so your real share moves as the catalogue and the audience do.
A pooled model invites one obvious attack: buy screens, show only your own work, take the money. Ours is built so that attack loses money even when nobody catches it — and we publish the rules, because knowing them does not make it profitable.
Only paying homes count. Wall-time on a free account is worth nothing. Anybody farming the pool has to fund the pool they are farming.
No artist takes more than 20% of one home's contribution. So a fake household costing £4.99 can return its own artist at most about 57p — a loss of roughly eight to one. The excess goes to the other artists on that wall, which makes farming a donation to everybody else.
Your own screens never count. Hours on your own account earn you nothing.
Four hours per piece, twelve per home, per day. One picture left up for a week is not a week of earnings, and one address with twenty screens does not outweigh twenty homes.
Paid by bank transfer on the fifteenth of the month, once you have asked and once you have cleared £100. Below that your hours are still recorded and still yours — the balance rolls forward until it clears the floor, and you can see how far off it is at any time. A payment costs the same to make whatever its size, so the floor exists to keep the money in your account rather than in bank charges.
Odd numbers get a human, never an automatic deduction. A screen reporting implausible hours is flagged for someone to look at. Nobody earns less because a household declined a camera.
Tell us who you are, where your work can be seen, and what you make. It takes a few minutes.
Not a queue and not a filter. We are looking at the work, and at whether we believe you made it. If we say no you get a reason, in writing.
Only after the review — so nobody hands over bank details before we both know it is going ahead. We hold them ourselves, encrypted, and they are read only at the moment somebody makes a transfer. We would rather tell you that than imply a third party stands between us.
No. You keep copyright and you keep selling it wherever else you like. You grant a licence to display it on Mirra screens for as long as your collection is listed, and it ends when you delist.
Access ends when the period they have paid for ends — cancelling on the 3rd should not blank a wall on the 3rd. After that it stops being displayed and stops accruing wall-time.
The screen tells us when a piece goes up and when it comes down, and only closed stretches count. It is measured per work and never per household: you learn your piece was up for 1,240 hours across 90 walls, and never whose walls they were.
Anything that rewards being lived with rather than glanced at. Both landscape and portrait mounts are common, so a collection with a mix of shapes reaches more walls — the software matches the shape of the piece to the shape of the screen.
No, deliberately. It is reviewed and invite-led. An open upload form is how a careful catalogue becomes a stock library, and it takes about a fortnight.
If you write about art, sell frames, fit screens or run a studio, there is an obvious partnership here — and unlike when this section was first written, there are now terms to point you at.
A fifth of every payment your customers make, for their first twenty-four — not a one-off bounty. This page once said the programme did not exist and that we would not print a number before we could honour it. It exists now, so here is the number.
The rules that limit it are published alongside the rate, including the cases where you will not be credited at all.
How Mirra Partners worksApplications are read by a person, usually within a week.