As the art fairs come and go—and often feel like a whirlwind—this had a lasting impact. It felt more human, more meaningful. It was nice to share and converse. I decided to illustrate from my joyful memories and encounters from the very first Neighbors Boutique Art Fair. I was immediately greeted by Mirka Serrato, in her periwinkle suit, who spent time telling me her story and how this dream of hers became a reality. Walking onto the property, you know you’ve entered something special, another realm. Places aren’t built or kept like this anymore. Neighbors combines the historical Astor St. in Chicago’s Gold Coast with Serrato’s own lived experience there. For three years she dreamed up what would become the first art fair of its kind in Chicago. She met curator Jonny Tana at Art Basel. The two had shared interests in the arts and started planning.
There was a floral installation involving tons of dried red peppers and a corrugated metal tube weaving in and out around the entrance to the courtyard. I quickly understood that this boutique art fair was a non-conforming cultural proposal, platforming underrepresented communities in the homogenous art system. Objects had a personality, even the sconces. Everything seemed alive. The history was being whispered, inviting viewers in. A feeling only a place that’s been appreciated, loved, and cared for can give.
I spent time with Sleep Paralysis by Day Brièrre, and Orange wooden dog by Rebecca Federle at Elise Seigthaler Gallery, Ciguapa by Sydnie Jimenez at Feia Gallery. Raft by Nancy Lupo and Chair by Inga Danysz at Good Weather Gallery. Hard Facts by Jessica Jackson Hutchins at Green Gallery—I especially liked this piece by the Chicago–based artist whose practice spans sculptural installation, assemblage, large scale ceramics, and paintings. Here she transformed an everyday object—an armchair, infused with human emotion, and rawness. The piece, in the main living room of the residence, was the perfect way to set the tone for the rest of the exhibit which was about experiencing art in a domestic context.
Gathering Gallery’s director Olivia Bayley spent time speaking with me about Tamara K.E, an artist they represent. She showed me earlier works and explained the evolution of her practice which meant a lot to me. That’s when I met Van Payne, a Chicago artist who coincidentally has a studio space in the same building as me. I moved to Chicago one year ago from Los Angeles. Meeting artists in this city who want to be friends and share resources has been one of the greatest highlights of my move. Van Payne was exhibiting a charcoal drawing for the first time, her main medium is sculpture, with Harlesden High Street.
I’ve also featured Chirp (Blue Stripe) by Michael Bala at Hans Goodrich Gallery and Yves Sherer from M. Leblanc Gallery’s stainless steel sculptures placed in the garden among the flowers. Apple Pool and Panda by Caitlyn Min-Jin Au at Chicago’s Shanghai Seminary Gallery, a bathroom installation with forms wrapped in blue bubble wrap and narrow windows or “peep holes” you have to bend down to view inside. The gallerist told me to be patient and “wait for the drip.” I also loved the drama of the installation involving three candelabras with spray painted words “breathe, bleed, and return” by John Garcia at Tureen Gallery.
