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    An Inflatable Building Recreates the Iconic Mecca Flats at the Heart of Chicago’s Black Renaissance

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    All images courtesy of Floating Museum, shared with permission

    An Inflatable Building Recreates the Iconic Mecca Flats at the Heart of Chicago’s Black Renaissance

    August 12, 2025

    ArtDesignHistory

    Grace Ebert

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    As the World’s Fair loomed on Chicago’s horizon, architects Willoughby J. Edbrooke and Franklin Pierce Burnham built a 98-unit hotel to house visitors. After the exposition was finished, the Romanesque Revival building with a large central courtyard was converted into apartments and became known as Mecca Flats.

    Chicago adhered to strict segregation codes in the 19th century, and Mecca Flats, located in the Bronzeville neighborhood at 3360 S. State Street, wasn’t immune. The complex originally only allowed white residents, before allowing Black residents in 1911. Quickly, the building became a site for creatives well-known in the Black Renaissance. Gwendolyn Brooks famously titled a book after the tenement, and luminaries Muddy Waters and Katherine Dunham called Mecca Flats home.

    View of the indoor atrium at the Mecca Flats, East 34th and South State Street, Chicago, Illinois.

    Although a historical beacon of Black creativity, the Illinois Institute of Technology razed the building in 1952. It was replaced by the Mies van der Rohe-designed S.R. Crown Hall.

    While Mecca Flats are long gone, its memory lives on throughout Chicago, and thanks to the collective known as Floating Museum, a new artwork revives the cultural hub. “for Mecca” is a large-scale inflatable structure recreating the once-thriving complex in grayscale polyester. Scaled down, this iteration stretches 41 feet long, with a U-shaped passageway for viewers to walk through.

    Floating Museum is co-directed by avery r. young, Andrew Schachman, Faheem Majeed, and Jeremiah Hulsebos-Spofford, who share that the project offers a “tangible artifact” of Chicago’s lost history. They say:

    “for Mecca” represents our collective interest in Bronzeville’s complex history. We can no longer view nostalgic images of Mies van der Rohe—enjoying a cigar in the emptiness of S.R. Crown Hall—without also imagining Mecca Flats, collapsed under his feet, and recalling the slow strategic displacement of the African American community signified by the presence of its absence.

    The project also includes several nods to former South Side institutions, including the jazz dancehall Savoy Ballroom and the Regal Theatre, a popular night club and performance venue.

    Debuting this past weekend at the original site, the project will travel around the city’s parks through the summer of 2026. “for Mecca” is the latest project in the collective’s Floating Monuments series, which seeks to uncover critical cultural and historical legacies within Chicago through public installations.

    Find more from Floating Museum on its website.

    The Stroll, Regal Theater, and the Savoy Ballroom, Chicago, 1941. Photo by Russell Lee. Library of Congress, Prints & Photographs Division, Farm Security Administration/Office of War Information Black-and-White Negatives.

    Savoy Ballroom, 47th Street and South Parkway, Chicago, 1929. Curt Teich Postcard Archives Digital Collection, Newberry Library.

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      in Art

      ‘Speak of the Devil’ Conjures the World of Twin Sisters Haylie and Sydnie Jimenez

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      Sydnie Jimenez, “Prima,” “Lil Shay,” “Big Tone,” “Cali Girl,” and “Malice” (from left). All images courtesy of Joy Machine, shared with permission

      ‘Speak of the Devil’ Conjures the World of Twin Sisters Haylie and Sydnie Jimenez

      August 8, 2025

      ArtPartner

      Joy Machine

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      Joy Machine is thrilled to present Speak of the Devil, a joint exhibition of ceramic and mixed-media works by Chicago artists Haylie and Sydnie Jimenez. The exhibition runs from August 9 to September 20, 2025.

      An expression of endearment and surprise, “speak of the devil” is about manifesting what one desires. The idiom connotes a strange, even magical ability to conjure someone’s presence with a mere mention. Simply say their name and wait for them to appear.

      Haylie Jimenez, “In the grass with a flower” (2025), found table with grouted tiled image, 24 x 28 x 23 inches

      For Haylie and Sydnie Jimenez, making art is also an act of conjuring. Twin sisters with parallel and sometimes collaborative practices, the artists work primarily in ceramics and share a similar aesthetic, one rooted in narrative and rich with tattoos, piercings, and a generally punk style. Where Sydnie focuses on three-dimensions and builds figurative sculptures and totemic heads, Haylie prefers to etch scenes into flat panels. Both artists act as world-builders, depicting their queer, Black and brown friends and neighbors embracing their chosen kin.

      “These groups of people we call family and friends are the best of us and should be recognized as such,” the artists say. “We want to fully acknowledge our wonderful communities and depict them as they should be.”

      The Jimenez sisters were raised in the South, first in Florida and then in Georgia, with a Catholic mother. Born from religious fear, the phrase “speak of the devil” originated as a 17th-century superstition of summoning evil. The expression has since lost its sinister meaning, although a surface reading still elicits the diabolical.

      This contradiction between a superficial interpretation and reality is one Haylie and Sydnie are endlessly interested in teasing out. They have lived in Chicago for nearly a decade and have found commonality between their adopted city and the South: “both places that often get a bad rep but are so rich in culture, shared histories and positive aspects,” they say.

      Sydnie Jimenez, “Curtain Hair Guardian” (2025), terracotta and oxide wash

      Speak of the Devil invokes the cultural and social similarities between Chicago and the South. Centering people first and foremost, the artists highlight the vibrant communities that thrive in both regions. Architectural details like Sydnie’s gargoyle-esque sculptures and domestic items like Haylie’s lamps and inlay tables reference the very spaces necessary to establishing meaningful relationships and a community of care.

      While celebrating their friends, family, and those who might become such in the future, the artists create a warm, welcoming environment–complete with custom-stenciled walls—that offers an alternative to both oppression and violence and enduring stereotypes proliferated through popular culture and the media. This is their own magical act of conjuring. By visualizing a world of radical acceptance, pleasure, and endless joy, the artists lay the foundation to make such a world appear.

      Haylie Jimenez, “Lake Vibe” (2025), multiple glazed ceramic tiles, 25 x 18 inches

      Haylie and Sydnie Jimenez, “Te Quiero Mucho” (2025), glazed terracotta, 11 x 12 inches

      Sydnie Jimenez, “Jimenez Jersey” (2025), glazed stoneware and rhinestones, 39 x 14 x 6.5 inches

      Detail of Sydnie Jimenez, “Jimenez Jersey” (2025), glazed stoneware and rhinestones, 39 x 14 x 6.5 inches

      Haylie Jimenez, “Tangled Kudzu,” glazed ceramic tile, 7 x 8 inches

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      in Art

      In ‘Pu$h Thru,’ Yvette Mayorga Examines Latinx Experience Through Rococo Maximalism

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      “She’s in the cake/Put out the fire, after Nicolas
      Lancret” (2025), collage, glitter, buttons, textile, birthday candles,
      pastel, cardboard, gold foil, silver foil, gold flakes, stickers, cake
      toppers, acrylic marker, acrylic nails, nail charms, and acrylic piping on canvas, 60 x 120 inches. all images courtesy of the artist and Monique Meloche Gallery, Chicago, shared with permission

      In ‘Pu$h Thru,’ Yvette Mayorga Examines Latinx Experience Through Rococo Maximalism

      June 11, 2025

      Art

      Kate Mothes

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      Known for her delectable, frilly, occasionally ominous acrylic paintings made with bakery tools, Yvette Mayorga (previously) nods to memories of her mother working as a baker and references Baroque and Rococo art while critically examining family, community, and notions of prosperity.

      Mayorga’s pieces are “dominated by shades of pink to critically examine the American Dream and the Latinx experience, often borrowing compositions from personal and family photos and art history,” says Monique Meloche Gallery, which presents a solo show of the artist’s work opening this weekend.

      “W3 R TIR3D” (2025), collage, rhinestones, plastic butterflies, acrylic marker, pastel, silver foil, gold foil, pen, acrylic nails, car sticker, butterflies, glitter, gold flakes, silver flakes, textile, belt, rhinestones, nail charms and acrylic piping on canvas, 48 x 36 inches

      Pu$h Thru, the artist’s first show with the gallery and the first in her hometown of Chicago since 2018, takes a semi-autobiographical approach by reflecting on her experiences during the last decade in the city. Beyond her characteristic confection-inspired works, she has created large-scale compositions incorporating found objects like lampshades, clothing, and jewelry, along with bits of ceramic, pastels, gold foil, acrylic nails, and more.

      Many of these works draw on Mayorga’s personal memories, like snapshots of the artist as a child during a birthday party or sitting in her family’s living room. Converging with romantic Rococo aesthetics and style, like portraits modeled after Elizabeth Vigee Le Brun or Jean-Honoré Fragonard, the artist addresses the Euro-centric narrative of art history and its overarching omission of other identities. Mayorga has even coined a term to describe her approach, “Latinxoco,” which merges Latinx identity with Rococo aesthetics.

      “Pink, a color that has a long history with Mayorga’s practice, is deployed as a conceptual strategy to destabilize Western ideals of skin tone, evoking questions of race, class, and gendered embodiment while also referencing cosmetic and domestic aesthetics—an ironic and radical reclamation of softness as strength,” the gallery says.

      Pu$h Thru runs from June 14 to July 26. See more on the artist’s website and Instagram.

      “La Ursupadora Not 4 Me” (2025), collage, textile, glitter, lamp shade, pen, electrical outlet, hoop earrings, shoes, jeans, marker, pastel, drawer handles, lampshade, ceramic, belt, felt, pastel, clock, stickers, gold flakes, gold foil, mirror, acrylic nails, textile, nail charms, TV control, and acrylic piping on canvas, 60 x 120 inches

      “What’s Hidden Beneath (Remnant Series)” (2025), found objects, nail charms, and acrylic piping on canvas, 16 x 12 inches

      “Hot and Ready” (2025), collage, rhinestones, acrylic marker, silver foil, gold foil, pen, pastel, mirror, acrylic nails, stickers, rhinestones, gold flakes, nail charms, collage, glitter and acrylic piping on canvas, 48 x 36 inches

      “Self Portrait of the Artist After Élisabeth Louise Vigée Le Brun” (2025), textile, collage, stickers, gold flakes, silver flakes, pen, lace, buttons, acrylic nails, nail charms, and acrylic piping on canvas, 72 x 60 inches

      “The Portal (Remnant Series)” (2025), found objects and acrylic piping on canvas, 16 x 12 inches

      “Rhinestone Vaquero After Élisabeth Louise Vigée Le Brun” (2025), textile, rhinestones, buttons, belt buckle, gold flakes, silver flakes, glitter, and acrylic piping on canvas, 72 x 60 inches

      “Taffy Taffy (Remnant Series)” (2025), found objects and acrylic piping on canvas, 16 x 12 inches

      “PU$$H PU$$H THRU” (2025), collage, rhinestones, glitter, acrylic marker, silver foil, gold foil, pen, toy boat, mirror, marker, acrylic nails, stickers, textile, leather, nail charms, and acrylic piping on canvas, 48 x 36 inches

      “La Serpiente (Remnant Series)” (2024), found objects and acrylic piping on canvas, 16 x 12 inches

      Installation view of ‘Pu$h Thru’ at Monique Meloche Gallery

      “Party Favor (Remnant Series)” (2025), found objects, nail charms, party favor, and acrylic piping on canvas, 16 x 12 inches

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      in Art

      An Exhibition Celebrates the Self-Taught Immigrant Artists Shaping Chicago

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      Alfonso “Piloto” Nieves Ruiz, , born Querétaro
      Mexico, 1975, “In the name of progress,” (2017), mixed media, 69 5/8 x 26 x 24 inches. Photo by Photo by Lisa Lindvay
      . All images courtesy of Intuit Art Museum, shared with permission

      An Exhibition Celebrates the Self-Taught Immigrant Artists Shaping Chicago

      May 23, 2025

      ArtSocial Issues

      Grace Ebert

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      Built on the traditional homeland of the Sauk, Fox, and Potawatomi peoples, Chicago is a city of immigrants. Just 13 years after the city was incorporated in 1837, more than half of its residents were born overseas, having flocked to the region from across Europe and Asia alongside tens of thousands of others. Today, Chicago is home to 1.7 million immigrants, totaling 18 percent of the population.

      The inaugural exhibition at the newly renovated Intuit Art Museum celebrates this history by bringing together 22 artists with ties to the city. Comprised of 75 works across mediums, Catalyst: Im/migration and Self-Taught Art in Chicago highlights those who worked in the Midwest and established their practice outside the traditional art world models.

      Carlos Barberena, born Granada, Nicaragua, 1972, “Exodus” (2019), linocut on HW Rives paper, edition of 25, 24 x 19 inches

      Intuit is a longstanding champion of self-taught artists. Established in 1991, the museum has recognized the incredible creative contributions of those operating outside the mainstream due to economic, societal, or geographic reasons.

      One such artist is Henry Darger, who worked as a hospital custodian by day and produced an enormous collection of drawings, watercolor paintings, and cut paper works only discovered after his death. While Darger’s works now sell for prices in the high six figures, his story is unique. Historically, self-taught artists don’t often attain the critical or financial recognition of their traditionally trained peers.

      Catalyst comes at a particularly relevant moment in the U.S., as immigrants are under increasing threat. Spotlighting works with a wide array of topics and approaches, the exhibition creates a sort of contemporary tapestry of those shaping Chicago’s cultural landscape since the mid-20th century. The show intends to highlight “artists deserving of greater attention, while posing questions about access to the art world and how art comes to be defined and valued,” a statement says.

      Included are four impeccably detailed paintings by Drossos P. Skyllas (1912-1973), an Ottoman-born artist known for his enchanting hyperrealistic portraits. Charles Barbarena works with a similar devotion to precise mark-making in his portraiture. The Nicaraguan artist creates linocuts that frame instances of trauma and adversity with elaborate floral motifs, his depictions of people continually harnessing compassion and resistance.

      Drossos P. Skyllas, born Kalymnos, Ottoman Empire (now Greece), 1912-1976, “Greek Bishop” (c. 1967), oil on canvas, 65 x 41 1/2 inches

      Found object and mixed-media sculpture features prominently, too. The soaring miniature cathedral by Charles Warner, for example, interprets the sacred spaces of his childhood in Prussia through hand-carved wood and pastel paint. There’s also the figurative assemblage of Alfonso “Piloto” Nieves Ruiz, who sculpts a rendition of the Statue of Liberty. With a torso of unidentifiable hands caked in soil and detritus at her feet, Piloto’s “In the name of progress” complicates the symbol of freedom.

      Catalyst is on view through January 11, 2026.

      Charles Warner, born Prussia (now Poland), 1884-1964, “Cathedral III” (c. 1955) mixed media, 48 1/16 x 16 1/8 x 20 7/8 inches. Photo by Mark Widhalm

      Charles Warner, born Prussia (now Poland), 1884-1964, “Cathedral III” (c. 1955) mixed media, 48 1/16 x 16 1/8 x 20 7/8 inches. Photo by Mark Widhalm

      Photo by Lisa and Nick Albertson

      María Enríquez de Allen, American, born Allende, Mexico, 1907-1999, “Untitled (New life goat skull)” (1997), mixed media, 8 ¾ x 7 x 10 ½ inches. Photo by Lisa Lindvay

      Marion Perkins, American, born Marche, Arkansas, 1908-1961, “Untitled (Wire head)” (c. 1955), steel wire, 19 x 12 x 13 inches. Photo by Lisa Lindvay

      Bronislaw “Bruno” Sowa, American, born Lubomierz (Poland), 1915-1995, “Untitled” (1994), oil on board in carved pyrography frame with glass jewels, 33 x 24 x 1 1/4 inches. Photo by Lisa Lindvay

      Photo by Lisa and Nick Albertson

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    • 125 Shares99 Views

      in Art

      Here’s What We’re Excited to See at EXPO CHICAGO 2025

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      Wangari Mathenge, “Re-Membering (Folded In Time)” (2025), oil on canvas, 57.99 x 82.01 inches

      Here’s What We’re Excited to See at EXPO CHICAGO 2025

      April 21, 2025

      ArtColossalPartner

      Grace Ebert

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      This week marks the beginning of Chicago’s art world Olympics as the largest fair returns to Navy Pier. From April 24 to 27, EXPO CHICAGO will host hundreds of galleries, site-specific projects, talks, and multi-disciplinary programming both downtown and across the city.

      To help you navigate, we’re sharing the artworks we’re most looking forward to seeing. And, if you haven’t gotten your tickets yet, use the code COLOSSAL25 for $5 off.

      1. Wangari Mathenge with Pippy Houldsworth Gallery (London)

      The Chicago-based, Kenyan artist will present a collection of vivid new paintings that speak to the immense amount of information generated through her intensive research process. Surrounded by books, plants, and brightly patterned East African Kanga fabrics, Mathenge’s figures lounge among objects that transcend colonial narratives.

      Ilhwa Kim, “Calculative Flight” (2024), hand-dyed hanji paper, 132 x 164 x 13 centimeters

      2. Ilhwa Kim, Gordon Cheung, and Zheng Lu with HOFA (London)

      We’ve long been enamored by Kim’s roving, rolled-paper compositions that delineate dense pathways through broader expanses. Her dynamic works will be on view alongside Cheung’s decadent paintings and Lu’s stainless steel splashes.

      Florence Solis, “Makahiya VI” (2025), acrylic on canvas, 48 x 36 inches

      3. Florence Solis with The Mission Projects (Chicago)

      Beginning with digital collage before moving to acrylic and canvas, Solis renders ethereal portraits of women infused with Filipino folklore. Delicate leaves and flowers entwine with coiled hair, while veils shroud the figures in luminous coverings, binding each with a protective, yet restrictive layer.

      Suntai Yoo, “The Words” (2024), acrylic on canvas, 91 x 117 centimeters

      4. Suntai Yoo with Galerie Gaia (Seoul)

      Fragmented, surrealist landscapes figure prominently in Yoo’s paintings, which frequently pair common objects like books, bicycles, and apples with Korean letters. The artist is particularly interested in metaphor and how distinct items interact to create meaning.

      Desmond Beach, “The Guardian of the Small & Sacred” (2025), digital painting, woven Jacquard loom, hand and machine sewn pieceworked fabric, 47″x 47 inches

      5. Desmond Beach with Richard Beavers Gallery (Brooklyn)

      Mixing digital painting with patchwork quilts, Beach creates bold, forward-looking portraits. The Baltimore-born artist invokes the ways that trauma can be harnessed for resistance and collective solidarity.

      Jimmy Beauquesne, “Phase 3. Knight of infinite resignation” (2023-2024), colored pencils on paper, hand-cut metallic frame, 62 x 41 x 2 centimeters

      6. Jimmy Beauquesne with Fragment (New York)

      Nested inside hand-cut metallic frames, Beauquesne’s colored-pencil works imagine a dreamy, apocalyptic world that drips with fantastic details. The nine pieces form a narrative of humanity’s transformation sparked by phantasmagorical change.

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      in Art

      Gertrude Abercrombie’s Autobiographical Surrealism Traverses Dreams and Reality

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      “Where or When (Things Past)” (1948), oil on canvas, 21 1/2 x 35 1/2 inches. All images courtesy of the Carnegie Museum of Art and Colby Museum of Art, shared with permission

      Gertrude Abercrombie’s Autobiographical Surrealism Traverses Dreams and Reality

      January 6, 2025

      ArtHistory

      Kate Mothes

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      “Surrealism is meant for me because I am a pretty realistic person but don’t like all I see,” Gertrude Abercrombie (1909-1977) once said. “So I dream that it is changed. Then I change it to the way I want it.”

      Abercrombie’s stark, symbol-rich landscapes and enigmatic portraits painted in oil were influenced by the European Surrealist movement, magical realism, and her own dreams. A leading figure in Chicago art, she was also involved in the city’s jazz scene, counting musical greats like Dizzy Gillespie, Charlie Parker, and Sarah Vaughan among her friends.

      “Queen and Owl in Tree” (1954), oil on masonite, 4 1/2 x 6 inches (unframed)

      The artist’s mystical works “suggest a life of wistful introspection and emotional struggle,” says a statement for the forthcoming exhibition Gertrude Abercrombie: The Whole World Is a Mystery at the Carnegie Museum of Art. The show and accompanying catalog present an opportunity for visitors to experience the artist’s highly personal work in significant depth, with access to artworks held in a range of private and public collections all gathered in one place.

      Born in Austin, Texas, Abercrombie grew up in the Hyde Park neighborhood of Chicago and spent some time in her father’s hometown of Aledo, Illinois. The small town in the northwestern part of the Midwestern state eventually became a source of inspiration for her atmospheric paintings.

      The artist studied the Romance languages at the University of Illinois—Urbana-Champaign and then pursued a course in commercial art at the American Academy of Art in Chicago, where she may also have briefly attended the School of the Art Institute.

      In 1932, Abercrombie began her career as a professional artist, which was spurred soon after by the support of the Federal Art Project of the Works Progress Administration (FPA/WPA). The program ran from 1935 to 1943 and provided economic relief to artists and craftspeople during the Great Depression. Along with Abercrombie, a slew of notable artists participated, from Arshile Gorky and Lucile Blanch to Jackson Pollock and Diego Rivera, among many others.

      “Demolition Doors” (1964), oil on masonite, Masonite, 20 x 25 1/2 inches (unframed)

      The Federal Art Project set up community centers around the U.S., sustaining the careers and livelihoods of around 10,000 artisans who contributed an estimated 400,000 easel paintings, prints, murals, posters, and other works during the program’s eight-year run.

      Abercrombie participated in the FAP/WPA from 1935 to 1940. Around this time, she showed her work widely, including in annual exhibitions presented by the Art Institute of Chicago and venues like Katharine Kuh Gallery, one of the city’s first commercial galleries to feature avant-garde work.

      Motifs like solitary women, dead trees, forking paths, stark landscapes, doors, cats, towers, and shells recur in her work. Abercrombie remarked that the scenes were always “pretty real,” merging facets of reality and the fantastic. “Only mystery and fantasy have been added,” she said. “All foolishness has been taken out. It becomes my own dream.”

      “Split Personality” (1954), oil on masonite, 8 x 10 inches

      In “Demolition Doors” (1964), for example, a black feline parks in front of a series of three multi-colored panels occupying most of the frame, behind which sits a gray, mostly empty landscape that could be either indoors or outdoors. Portal-like, the doors represent choices one makes about what direction to take, what threshold to cross. The cat stands sentry, waiting on the viewer’s—and by extension, the artist’s—ultimate decision. “The whole world is a mystery,” she had said.

      Abercrombie associated some of her recurring symbols with a witch’s persona—historically an identity connected predominantly to women—which she sometimes embraced in her own fashion choices. She occasionally donned a pointed velvet hat to accentuate her sharp features and tall stature. The female figure, including Abercrombie’s own likeness, is often shown traversing barren terrain, reclining in pensive quietude, or interacting with otherworldly forces.

      In an interview with Studs Terkel shortly before her death, Abercrombie said that “it is always myself that I paint.” For example, in “Split Personality” (1954), a woman in a blue dress, standing inside an unadorned room, has been cut in half at the waist. Her torso and head hover over a pitcher, and she reaches out toward her legs, but the shadow on the wall to the left depicts a complete figure—the sum of two parts—as a way of suggesting that looks can be deceiving.

      “The Ivory Tower” (1945), oil on masonite, 15 x 19 inches

      “With a deft hand, a concise symbolic vocabulary, and a restrained palette, she created potent images that speak to her mercurial nature and her evolving psychology as an artist,” says an exhibition statement.

      Later in life, Abercrombie’s artistic output gradually waned as ongoing health issues related to arthritis and alcoholism took a toll. She became more reclusive as she eventually required a wheelchair, before being confined to bed. A major retrospective of her work was held at the Hyde Park Art Center the year she died, and her will established the Gertrude Abercrombie Trust, which distributed her work and pieces by others in her collection to cultural institutions across the Midwest.

      Gertrude Abercrombie: The Whole World Is a Mystery opens in Pittsburgh on January 18 and continues through June 1. The exhibition then travels to Colby College Museum of Art in Waterville, Maine, opening on July 12 and running through January 11, 2026. Find more on the Carnegie website.

      “Winding Road” (1937), oil on board, 7 7/8 x 10 inches (unframed)

      “Letter from Karl” (1940), oil on canvas, 24 x 30 inches

      “The Countess Nerona” (c. 1945), oil on masonite, 8 x 10 inches (unframed)

      “Self-Portrait Brooch” (1954), oil on board, set in wire mount, 1 x 1 inch overall

      “The Church” (1938), oil on canvas, 18 x 24 inches

      “Shell and Drape” (1952), oil on canvas, 24 x 36 inches (unframed)

      “Charlie Parker’s Favorite Painting” (1946), oil on masonite, 17 15/16 x 21 7/8 x 1 1/8 inches

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    • 88 Shares129 Views

      in Street Art

      New work by WRDSMTH in Chicago, USA

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      Street artist WRDSMTH has recently entered into an exciting partnership with the newly launched luxury cannabis edibles brand, The Bettering Company (TBCo.).WRDSMTH, renowned for his ability to inspire and motivate through his art, finds a kindred spirit in The Bettering Company. Both entities share a common mission deeply rooted in driving positive change and fostering improvement. This partnership serves as a promising beginning to a series of collaborations with artists, signifying an ongoing initiative that aims to merge art and cannabis in unique and impactful ways. Together, WRDSMTH and The Bettering Company are poised to create a space where creativity and luxury converge, delivering experiences that transcend traditional boundaries.TBCo. has made a noteworthy entrance into the market as a premium cannabis brand, offering a meticulously curated selection of edibles infused with real fruits, herbs, teas, spices, and jams. These gourmet creations are crafted by skilled chefs and consistently maintain their vegan and gluten-free qualities, catering to consumers who value the thoughtful artistry behind their consumption.Take a look below for more photos of WRDSMTH’s latest project. More