Spanish custom house Tamarit Motorcycles has built its reputation by pushing modern Triumphs far beyond their factory boundaries. They’re not only prolific but also possess a willingness to bring to life whatever their customers desire, no matter how crazy or left field. Their latest creation, Karma, is build number 159 of their signature series and perhaps one of their most extravagant declarations yet. Commissioned as a one-off statement piece for a private client, the bike takes the familiar bones of the Triumph Bonneville water-cooled platform and transforms them into something far closer to rolling sculpture than a conventional custom, a truly Baroque-inspired Bobber.
Every Tamarit build starts with a conversation, and Karma was born from a very specific brief. “Every Tamarit begins with a personal story,” the team explains. “Karma is the embodiment of a clear vision: turning a passion for detail and Baroque aesthetics into a one-of-a-kind piece.” The result is a motorcycle designed not to follow trends but to reflect identity, an object that sits somewhere between collectable artwork and rideable machine.
That transformation begins with Tamarit’s so-called Platinum architecture, which dramatically reshapes the bike’s silhouette. The stance is low, stretched and deliberately uncompromising, prioritising visual impact over comfort. “Karma doesn’t chase comfort,” the workshop says. “It commands presence.” This is achieved largely through suspension changes, with the rear end featuring minor tweaks to drop the back end, while still retaining that clean and functional mono-shock setup.
The rear tyre is a beefy old-school chunk of rubber, and it’s only one piece of the puzzle as Tamarit chases maximum visual drama. A solid disc wheel dominates the view, trimmed with custom brass detailing and paired with a bespoke rear fender on a new custom mount, a huge upgrade from the oversized factory item. An axle-mounted number plate bracket cleans up the tail end, and the wave pattern rotor builds on the drama, turning the Bobber’s already minimal rear silhouette into something even more striking.
Up front, high risers combined with turned-down handlebars create a radical riding position, while a traditional springer front end introduces an unmistakably vintage mechanical presence. Paired with a spoked front wheel and single brake disc with a wave-pattern rotor, it establishes the bike’s distinctive front profile. A custom front fender hangs from a hand-made brass strut that swings with the suspension, reinforcing the bike’s Baroque inspiration with an ornamental flourish that feels more like jewellery than bodywork.
Colour and finish play a huge role in Karma’s identity. The entire bike is draped in an earthy olive green, accented by delicate gold pinstriping that nods directly to Baroque ornamentation. Chrome is used extensively throughout the build, from the engine covers and exhaust system to the levers, switchgear and mirrors, creating what Tamarit describes as “mechanical jewellery.” In fact, the workshop spent more than 450 hours crafting and finishing the machine, treating each component as an exercise in precision.
Despite its artistic ambitions, Karma remains fully rideable with that sweet 1200cc engine delivering endless torque, whenever you need it. A custom two-into-one exhaust delivers the soundtrack, while a Bates-style headlight houses a discreet Motogadget speedometer as part of a simplified electrical system. The bike has also been fully engineered and homologated to meet road regulations, meaning its owner can experience it out on the street for all to enjoy, rather than leaving it as a static display.
Tamarit is refreshingly honest about one thing, though: comfort was never the goal. “Karma isn’t comfortable. Karma isn’t neutral,” they say. “Karma is a conscious decision.” And that perfectly sums up this remarkable machine: a one-off motorcycle built not to compromise, but to stand apart. In a world where customs often chase trends or seek to be accepted as part of the pack, build #159 from Tamarit Motorcycles proves that perfect excess can indeed be art.
