Let’s start by taking a little step back. This is not the first time you work with The Community, right?

We had a show in The Community’s space in Pantin last November, titled LA RENTRÉE. It was the first of The Community’s invitationalformat, which I guess they also expanded, in a way, with The Salon. It was a beautiful, very spontaneous show –the reasoning behind it was bringing everything that fitted into a single suitcase. [laughs] 

This time, with more preparation, we brought a fuller range of works reflecting our gallery’s vision in a more organic, and complete, manner. The selection gives an overview of what we’re aiming to accomplish in New York—primarily supporting artists ready for their debut solo exhibitions. I love working with emerging artists, and here at The Salon, we’re showcasing artists who’ve never shown before. For instance, Ethan Means, a remarkable oil painter from Flatbush, Brooklyn, is showing his work for the first time here, at The Salon, and it has been an exciting experience to see the public’s response.

Alongside him, we have pieces from more established artists in our program, like Hannah Lee, whose work references Caillebotte, whose work is currently being exhibited at the Museeè D’orsay. Having these artists side by side captures the essence of our program, emphasizing new voices and ongoing dialogues. 

How’s working with artists who are just starting out?

It definitely adds a layer of curiosity and collaboration, allowing us to nurture meaningful relationships from the outset. This approach aligns with the salon’s ethos and its conversational format, fostering open interactions, much like NADA’s broader mission to connect communities in art.

As we’ve already said, this isn’t my first collaboration with The Community—I’ve known them for a long time—and it’s always been about intellectual curiosity, introducing fresh voices and keeping things innovative. 

Was supporting emerging art always part of your mission from the start? Since you began collecting, has that focus always been there, or do you feel it developed over time as you gained experience?

It is a mission, 100%. Since opening our gallery in 2017, our goal has been to elevate emerging art. It started as a DIY space, driven by an underground spirit, and that ethos remains central to everything we do. For instance, Pat McCarthy is one of the artists I brought to the salon; his background in zine culture and punk aesthetics reflects our gallery’s roots in alternative art scenes, and his work blends high and low art in a way that resonates with our values.

I see each show as a collaborative journey that connects me with the artist on a deeper level. The Salon has been especially rewarding because it feels less like a conventional fair and more like a community of art lovers sharing ideas and engaging in meaningful conversations.

And those conversations become part of the story. Just like the way you work with artists, that same deep involvement in their practice. The way you described Pat’s work really shows the thoughtful, long-term relationships you seem to cultivate with artists. Is it challenging sometimes to keep that up?

Honestly, it’s good. It’s my everyday, my whole life—I live and breathe it, so I don’t think about anything else. For me, it’s all about the relationship, and when your work becomes your life, that’s when it’s truly rewarding. That personal, enduring connection with the artists and their work is central.

Speaking of connections, have you had a chance to attend any talks or activations here?

Not yet, but I’m excited to see Nick Sethi and pick up one of his books. He’s a friend and a talented artist, also involved with The Community for years.

Is there a particular medium you’re interested in curating right now? Or that perhaps you wanted to specifically focus on for a fair setting?

Not really. For me, it’s more about the artist’s intention. I enjoy working with artists at various stages of their practice, especially when they’re deeply engaged and obsessed with their chosen material. If they’re passionate about oil painting on panel, that’s fantastic. If they’re drawn to English porcelain ceramics or performance, I’ll support that too—as long as it’s an authentic pursuit. It’s not about creating what sells; it’s about creating because they have an undeniable drive to express through their art. Also, The Salon’s format is less costly than larger fairs, allowing us to take more creative risks. 

How’s your feedback on The Salon experience so far? How would you describe it?

I think that there’s a more relaxed environment that lets visitors, including collectors, approach the works with an open mind, which fosters a greater receptivity to new perspectives. It’s refreshing compared to the high-stakes, high-commercial settings of other fairs. Plus, it’s nice to see students and young creatives engaging with the art, it’s different.

What are the next steps for you after The Salon?

Right now, we’re in the midst of our season, with several shows lined up through the end of the year, including a fair in Miami. I’m also working on a sculpture garden in Red Hook in collaboration with the gallery, an exciting new project focused on expanding our sculptural offerings.