Mariane Ibrahim

But when you look even in terms of the square and the public square, you see also groups of families.

So coming from a big family myself, that was the first part that I noticed in a big city like that, in a city where compared to other places, you know, there's a lot of individuality.

People eat alone.

People do things alone.

In Mexico, there is a very strong sense of family.

In fact, when we do openings, we often have people coming with their mothers and their grandparents to the gallery.

They share those sort of experiences.

And even though Mexico, it is in this sort of a North hemisphere, you know, for what it represents and what it says, I find something African.

There's an African spirit that, you know, I see in Mexico.

To me, Mexico was the closer that I could get to that sort of an energy of Fabioli Oriente.

Then you see also, you know, this love as well in Mexico.

There's a lot of couples.

It's a truly a beautiful and a romantic space.

I consider institutions and museums as a barometer of the career development of an artist.

And it's very, very important that they catch the moment, the right moment for the artist, you know, sort of a collect.

So I have put a very strong stress on developing those relationships.

And also because it started pretty slow for me to address to collectors, you know, during the time of Seattle.

All that always was left for me was to engage with curators and museums.

And that sort of continues even more in this moment.

I look at it also in terms of the resume of the artists.