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The Collectors: Todd White and Cameron Carani

The founder of Dry Farm Wines and his partner have amassed a dazzling trove of ceramic forms that feel very in tune with nature

By Jacqueline Terrebonne
Two people sitting in a modern room with decorative elements and ocean view in the background, wearing black outfits.
Todd White (left) and Cameron Carani at home in Miami with a moon jar by Akiko Hirai on a plinth near the window along with pieces on the table by Hayashi Shotaro, Kohara Yasuhiro, and Masaomi Yasunaga. Photo: COURTESY OF DRY FARM WINES

As the founder of Dry Farm Wines, which focuses on sharing the world’s most delicious biodynamic vineyards, Todd White knows a thing or two about organic beauty. So it tracks perfectly that White and his partner, Cameron Carani, have amassed a dazzling collection of ceramic forms that feel very in tune with nature.

White purchased his first clay piece in his early 20s. His acquiring reached new heights after Roman and Williams opened Guild Gallery in New York, and he “started to buy really serious pieces,” White says. The couple is particularly transfixed by Casey Zablocki’s gutsy works, which seem chiseled from the earth, and massive moon jars by Akiko Hirai. “Most all of our ceramics are made of materials indigenous to the region of the artist, so there are lots of neutral, mineral, and organic tones,” says White.

Abstract ceramic vase with colorful geometric and organic patterns on a white background, displayed against a plain backdrop.
A work by Jane Yang D’Haene. Photo: Courtesy of Dry Farm Wines
Abstract green stone sculpture with a central circular hole, set against a plain white background.
A work by Chung Jae Kim.
Intricate white coral sculpture on a reflective surface against a plain white background.
A work by Beatriz Chachamovitz.
Modern gold table lamp with unique abstract design and visible power cord on a white background.
A work by Noé Duchaufour-Lawrance. Photo: Courtesy of Dry Farm Wines
Three textured ceramic vases covered in rough, colorful stones against a plain white background.
A work by Masaomi Yasunaga. Photo: Courtesy of Dry Farm Wines
Two artfully crafted arrangements of blue crystals and golden branches displayed on a reflective white surface.
A work by Jocelyn Marsh.

Recent purchase: “I bought a ceramic called Mountain by Gisèle Buthod-Garçon in the Paul Bert Serpette section of Marché aux Puces. It’s shaped like a peak with a white glaze top that looks like snow,” explains White, who finds European markets undervalue the art form, thereby making the Continent a select place to acquire more.

Team effort: “Our tastes are actually very similar,” says Carani, who serves on young collectors’ committees at the Bass Museum of Art and the Institute of Contemporary Art, Miami, as well as the Whitney Museum of American Art and Museum of Modern Art in New York. “We challenge each other. It keeps our minds sharp when we want to buy new art.”

A version of this article first appeared in print in our 2025 Late Fall Issue under the headline “The Collectors.” Subscribe to the magazine.