Mariane Ibrahim

But I think I'm in sort of an old soul, old school, nostalgic, I would say, galleries.

I've studied my history of previous galleries.

And I think there was something, a display that sort of was missing out in a lot of those booths.

And I would always consider the art fairs as the visual identity of a gallery.

So it was for me a showtime moment.

It wasn't like I'm going to be having like the white walls.

And I was so anti-white walls and everything that it represents, you know, in terms of the dominance of a certain category of galleries out there.

And so for me, it was showtime.

It was the time where you have to bring forward your best presentation, your best fashion, your best thing, you know.

And I took a great, great pleasure in doing so as even if there wasn't any prize, I wanted to be the best one and the best five.

And I was able to get it for a few years and to have something very immersive and relevant for the artist.

And with Zora Opoku, actually before that fair, before the Omri show, the previous one, which I am extremely proud of, I consider it to be my best presentation so far, was at the Seattle Art Fair.

I commissioned an artist to recover the entire...

booth with a black vinyl.

You couldn't see any work.

Everything was recovered.

And I think that when some fairs have seen that presentation, they're like, okay, this one is a bit crazy.

Why don't we bring her over?

And I think the invitation from the armory came from there.

Yes.