In short: it was a spectacular opening night. A larger crowd than I’ve seen in years. That’s the good news. The bad news is that we were so busy talking, explaining,  and mostly reconnecting with old friends and clients that I didn’t get a chance to get out of the booth once.

But, at the end of it all, what everyone always wants to know is “What sold?” It’s the ultimate scorecard for so many. OK OK. So here’s where we are after Day one.

Placed with a good home in southern California, the small Moje that has traveled across Australia and to museum exhibitions on both US coasts finally finds a family.

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Somewhere back in Portland, Oregon,  Susan, Janet and a dozen other serious-minded staffers at the Bullseye Glass Company imagine that their leader, Jim – in Chicago for Bullseye Gallery’s showing at SOFA 2009 – is working hard to uphold the supremely professional reputation of the company and the many fine artists its gallery represents.

Wrong. Made irreparably giddy by the fumes of Sherwin-Williams #7048, the normally no-nonsense Mr Jones has been buzzing about the monkey bars all morning, drunkenly painting and repainting the endless corners and angles that make up the skeleton of Michael Rogers’ Beekeeper’s Staircase.

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To get to the glamorous bastion of high-ticket fine craft and design that is the annual Sculpture Objects and Functional Art Fair also known as SOFA you have to walk through over a half mile of amusement park.

Little Jimmy at the Fairgrounds

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Up Up and Away to SOFA Chicago.

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Just when we thought we were pretty smart, we learned another kiln-glass lesson. It’s a corollary to Lesson No. 1, which is: NEVER think you know what’s going to happen in the kiln.

In fact, we sooooo know that we don’t know, that we always test before doing major projects.

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