Mariane Ibrahim

And I am so, so grateful for the artists who have been really

It's crazy to have trusted a gallery in Seattle, to have come all the way to Seattle and do shows.

I'm so grateful for them for believing in me, you know, because once you send those invitations to the artists, it's not New York, it's not Los Angeles.

So what can possibly come out of Seattle, especially if there's not a market?

So I have so much gratitude and I realize how they also sort of a transgress and also

accepted this invitation.

I don't think that they didn't have any other invitation, but I think there was a part of alignment with the program.

So Seattle, yeah, I haven't returned back.

I have like an interesting relationship now with Seattle.

I felt so misunderstood and felt so cast away.

You know, a few times I tell the joke that I've experienced COVID for seven years, you know, you know, social distancing and not seeing people in the

the gallery so it was a really a territory where business was not very much easy to do on the site but it kicked you to go to the world so this is where i started to do a lot of art face from from seattle

I'm living with my time, and therefore I have to work with artists that are living with our time.

And I grew up in different places, and for me, I have to be part of the same space and time.

And I do have an affinity with certain artists because we sort of deal with a lot of the same issues, you know.

And it's not always representation issues, but other sort of issues, you know, issues in terms of I discover much, much, much later about different forms of feminism.

What I was taught was a certain type of feminism and that feminism really didn't work with me.

So I think compared to France, the U.S.

sort of have that sort of emancipation in terms of those questions that we can talk about race and gender issues and feminism and all of that.

So opening a gallery is pretty easy.