Outdoor art shows come with their own set of challenges—more involved, more unpredictable, and a whole lot more gear. You’re not just setting up a booth; you’re building a structure from the ground up. Weather is always a wildcard—wind, rain, heat, humidity—so every display decision has to account for the elements. There’s no option to rent display cases or rely on built-in lighting. You bring it all: lighting, signage, a fan, towels, and anything else you might need to stay dry, cool, and presentable. Some shows offer tent and weight rentals, but those setups are often dark inside—so bringing a rechargeable battery to power your case lights is a must.
But there’s a certain magic to it too. Being outside, set up in a neighborhood like Old Town with tree-lined streets and curious locals wandering by—it feels more connected somehow. Since setup didn’t start until 6pm (a nod to Old Town’s residential charm), I had the morning to explore.
First stop: a jewelry shop that’s been on my hit list for years (finally checked that one off). When I’m doing out-of-town shows, I always carve out time to visit jewelry shops that might be a good fit for future partnerships. You can only learn so much online—seeing the space in person tells you a lot. Vibe is important, and I can usually get a good read by chatting with the sales team and asking a few thoughtful questions.
Then I headed to the Art Institute, one of my favorite places to reset creatively. I wandered the galleries without an agenda, letting the work lead the way. The contemporary wing pulled me in first—raw, layered, unexpected. Then came the modernists, and finally, the Impressionists.
That wing was easily the most crowded in the entire museum—and for good reason. Seeing so many iconic pieces up close, the kind you recognize from textbooks and postcards, was a full-body kind of awe. Van Gogh’s self-portrait stopped me in my tracks: the texture, the electric blue, the visible urgency in each brushstroke. Even in a room full of people, there was a collective hush—everyone leaning in, taking it in.
Each gallery felt like a shift in tempo, a reminder of how many ways there are to see the world. I left feeling recharged, re-centered, and ready to switch gears into show mode that evening.
When I saw Barnett Newman’s The Beginning, it immediately brought to mind a ring I had just finished—clean lines, bold contrast, and a simplicity that carries weight. It's not on the website yet, but I’ve included a photo above.
My background in painting shows up often in my jewelry work. The same principles apply—composition, balance, color relationships—just translated into stone and metal instead of canvas and pigment. Cutting and setting stones is its own kind of mark-making.
Like most of the shows I do, Old Town is a juried event—which means you apply, submit your work for review, and hope to get selected. Most of these shows require you to reapply each year, with no guarantee you’ll get in. I had been applying to this particular show for three years—it's consistently ranked as one of the best—and this year, I finally made it in. It did not disappoint. Great traffic, near-perfect weather, and some truly wonderful conversations with people who connected deeply with the work.
Chicago is packed with so much to see and do—it’s easy to see why it’s a favorite for travelers. From world-class museums and iconic architecture to vibrant neighborhoods and incredible food, there’s inspiration around every corner.
Want to see the pieces I brought to Old Town - or what's new since? Browse my latest one-of-a-kind jewelry.