Jennifer Simaitis and Stefan Hancherow form a unique profile among Canada’s collectors — a young couple, they both work within the artworld and collect therein. Their friendships with the contemporary artists working today and their relatively small budget elicits comparisons to the young Dorothy and Herb Vogel, for their commitment to collecting despite — and through — limited means, and their keen sense of what will matter greatly, tomorrow. Simaitis (originally from Hamilton) was the manager of Seeds Gallery, a former lightening rod for NSCAD University students and alumni; she now holds the position of membership coordinator at the Power Plant. Hancherow (born in Calgary) works as a curator and arts administrator, the current assistant curator for the Sobey Art Award. The two reportedly met at an airport in Halifax, when they were both attending NSCAD in 2005. “I would say that our collecting interests stem from our time [there],” Hancherow says. “We drank the conceptual art Kool-Aid at NSCAD. We have a fair amount of work where we are drawn more to the idea than to the aesthetics.” Simaitis reflects, “This is where we have trouble defining ourselves as collectors; the art in our home doesn’t have a definitive aesthetic. Many works in the collection are connected to moments in our lives.” Despite this admittedly personal narrative, Simaitis and Hancherow’s collection carries a visible coherence, boasting largely East Coast and Ontario artists working conceptually and with restrained elegance. From Fastwürms and BGL to Eleanor King and Jennifer Rose Sciarrino, the couple maintain a strong grasp of the artists exceling in the contemporary moment, right on the cusp. BLOUIN ARTINFO Canadacontinues its “Collector Watch” series by querying Simaitis and Hancherow on the moments that led to the artworks, and the works that are building one of Canada's freshest young collections.

When did you begin collecting? Did you begin separate of one another, or together? What started you on this trajectory?

Jennifer Simaitis: Given that we were both studio artists in art school, we got into the habit of trading artworks with friends. So individually we had a few works in our collection that were combined when we moved in together. One of my favorite trades was with David R. Harper, an early embroidery of a skeletal system on a springbok hide, that we display prominently amongst some of his more recent works that we’ve been lucky enough to acquire.

Stefan Hancherow: The first piece of artwork we bought together was a painting by Daniel Hutchinson, “Mime V (violet)” (2006). It was one of two, part of a pair of paintings that Daniel had painted on steel; its partner had been damaged and then destroyed. We saw it in his NSCAD studio after his MFA exhibition in 2007 and couldn’t stop thinking about it. We realized that we wanted to live with art that we loved. We had caught the collecting bug.

You’re both young, and holding positions in the Canadian artworld that suggest you might be working on a smaller budget than others in the collecting market. Are you budgeting for this activity? And if so, what percentage of your incomes are you devoting to collecting?

SH: We don’t have ton of money to spend on art. We don’t travel to international art fairs in search of our next acquisition. We buy works by students and emerging artists, from fundraisers at artist-run centers and other not-for-profit institutions, and small works from local commercial galleries. We have worked in exchange for art, we give and receive art as gifts, and love artists’ multiples.

JS: We don’t have a set budget for buying art but if we see something we love we try to make it happen. Whether that be by starting a payment plan or seeking out a smaller or editioned work by the same artist. We would rather save up for something that we want to live with everyday than splurge on short-term stuff. When we were moving from Halifax to Toronto we realized we didn’t have much stuff. Art was our baggage.

Did you have any help getting into the field — were there guides, advisors, or did you navigate this alone?

JS: Collecting wasn’t something hereditary; we have learned so much about art from a network of mentors: artists, professors, scholars, arts professionals, and enthusiasts. The guidance we have received has allowed us to continue to work in the arts, which has broadened our perspectives on contemporary art, curating, and collecting.

When I graduated from NSCAD University I began working at Seeds Gallery, a commercial and pedagogical shop for student and alumni work. I advocated about the importance of supporting artists and living with art, so I guess that advice simply rubbed off on the both of us.

SH: We go to artists’ studios, talks, tours, galleries, and art parties. We see a lot of art and appreciate the community that surrounds us. We acquire art because it stimulates us intellectually and aesthetically.

How would you define your interests and aesthetics, when it comes to collecting?

SH: I would say that our collecting interests stem from our time in Halifax. We drank the conceptual art Kool-Aid at NSCAD. We have a fair amount of work where we are drawn more to the idea than to the aesthetics.

JS: This is where we have trouble with defining ourselves as collectors; the art in our home doesn’t have a definitive aesthetic. Many works in the collection are connected to moments in our lives. When we were living in Halifax we collected works by Atlantic-based artists, because that is who we were engaging with. And now that we are in Toronto we have started collecting a number of works by Ontario-based artists. Our collection is narrative. It focuses on our environment and experiences rather than on a specific aesthetic or theme.

Are you largely supporting emerging-midcareer Canadian contemporary for any particular reason (ie., budget, sense of nationalism, social circles)?

SH: I guess if you distill it, we collect Canadian contemporary because it is the ecology in which we participate. We feel it’s important to support the community that supports us.

What do you read, and what auctions, museums, or galleries do you frequent in order to keep your finger on the pulse of what’s developing in the market?

JS: In addition to the places already mentioned, we go to many student art exhibitions and grad shows, curate independently, and have been lucky enough to participate in and contribute to different art-school class critiques. Looking at student work is a great way to engage with fresh art and ideas. We try to get out of the city to see shows. Whether it is Hamilton for art-crawls, Guelph or London for student exhibitions and studio visits, or museums and biennials in Ottawa and Montreal. Our professional lives also allow us to travel so we are very fortunate to be able to see exhibitions across Canada and internationally.

SH: We also give ourselves time to visit galleries when we are out of town. We did a Rust Belt tour about a year ago; Buffalo, Cleveland, and Detroit have excellent museums, it makes for a nice weekend trip from Toronto. Along with the gallery visits we read the exhibition essays. We also view a number of art blogs, we follow Jerry Saltz on Facebook and Twitter, we read periodicals like Art Newspaper, Canadian Art, C Magazine, Art Forum, Fillip, Visual Art News, The Exhibitionist, and independently published or small-run art writing magazines, basically anything that comes across our desk or desktop. We also do a lot of reading and research for our jobs, so there is definitely carryover between life and work.

JS: In response to the art market I don’t think it plays a big role in our collecting. Maybe trends play a larger role in our professional lives and our curatorial projects, but we don’t set out to collect certain artists; we don’t say we need a “so-and-so”. It’s very simple, we trust our instincts.

Do you have a favorite piece in your collection? Which one and why?

SH: Dan Hutchinson’s painting holds a special place in our collection because it was the first piece that we purchased together. It’s also a painting that is constantly changing with ambient light, so there are new perspectives that emerge from the work.

JS: We have such varying pieces, including video and sound works, sculpture, prints, ephemera, and books. It’s very hard to choose because so many of the works play off on one another, we enjoy them even more as a group than singularly. Each of the works is attached to memories of exhibitions that we have put on or been a part of, or have been by people we respect, admire, and have personal relationships with.

SH: Our Micah Lexier arrow tattoos are very special, as they should be because it is not like we can put them in storage. The arrows commemorate our relationship to each other and our dedication to art.

What do you perceive to be the Canadian artworld’s strength, and what is it lacking?

SH: In Canada there’s a lot of love, but I wish Canadian artists, curators, writers, institutions, donors, and collectors received more international recognition.

Which collector of an older generation do you most admire, or perhaps even hope to emulate?

JS: We think Herb and Dorothy Vogel are great because they prove that you don’t need to be rich to buy art, you just need passion and commitment. Their collection also speaks to the location and time in which they were living. They were initially collecting outside of the market and formed relationships with the artists whose careers they were championing.

SH: In the Canadian artworld we definitely admire Dell and Lauren Pohlman for their sincere approach to collecting and living with art. We met them at Art Toronto several years ago and have since become good friends. We share a love of conceptual and process-based art practices, shoes, and whiskey. There is certainly some crossover in our collections, such as our admiration of Ken Nicol. They are active in their art community and turn others onto collecting and supporting Canadian artists.

Your collection also extends to fine jewelry, collectible editions, and craft. Can you talk a bit about those aspects of your collecting focus, and how they relate to your broader collection of contemporary art?

SH: I think that stems from us going to school at NSCAD. It’s very interdisciplinary there, so fine art and craft are always at play with one another.

JS: We were spoiled at NSCAD because we got to witness stellar jewelry, ceramics, and textiles being produced in the studios, incorporating exceptional skills and concepts. Wearing art is an extension of living with art. Why not wear it on your body in the form of scarves, a necklace, or even an artist-designed T-shirt or tote bag? It is an affordable and smart way to promote talent outside of the home and gallery, and a surefire way to receive compliments.

SH: Or if you are going to drink a coffee why not drink out of a handmade ceramic mug?

JS: Coffee always tastes better out of a one-of-a-kind mug.

SH: Editions are a great way to support artists that we admire whose work may be out of our price range. We have friends who have got us hooked on collectable editions. Paul + Wendy Projects and Nothing Else Press are making brilliant art very accessible.

In what ways do you two share common ground, and in what ways do you differ in your tastes?

JS: We certainly have individual likes and dislikes, which we respect and challenge. We have an ongoing dialogue about art. We’re open to convincing each other and being convinced. The more art we see the more our tastes develop.

SH: Living with art is important to us, as there are works that have grown on both of us, and we continue to grow with our collection. The reason we like the art we like is because we share similar experiences in art and in our community.