However the most vital part of this collective procedure of “restoration as restoration” (as Lewis puts it) was using ancestral memory. Shown in the circular mirror is a framed piece installed on the opposite wall entitled Produced Mama that weaves together images of Barnett’s granny, her mom, and her mom’s brother or sisters. Not just is this Barnett’s unique method of commemorating originating from what she refers to as “a family tree of makers,” however the particular positioning signals to others that they’re getting in an area that is “inhabited by the energy and synergy of Black ladies” that are “supporting you spiritually.”
The most important issue for the main bed room was “How do we develop a location that is an invite to sensuality and rest?” Lewis states. The designer addressed this call with a neutral combination that integrates subtle frequencies of pattern to effect a peaceful personal sanctuary. “This space is my sanctuary,” Barnett avers. “It’s an area where I get to pull back and check out other parts of my life. Having my work around me is all a part of me sharing that love for self.”
Lewis praises Barnett’s vision in curating an area that completely represents Black heritage and culture, explaining how “practically whatever in this house has actually been made, made, produced, and set up by Black hands.” At the very same time, she does not lose her own identity in the mix. “I’m devoted to informing stories about my customers within their areas so it seems like an architectural picture,” he stresses.
Barnett sees her house as a financial investment in the neighborhood that she’s worked so tough to unite, as much as a financial investment in herself. She hopes visitors feel a strong sense of permanence. “This work is not an individualistic culture task,” Barnett concludes. “It’s a partnership of minds artistically, physically, and intuitively. That is how we develop genuinely lived-in areas.”
In focus
Black Artists + Designers Guild creator Malene Barnett highlights 6 BADG members who are developing on the tradition of Black ladies makers.– Produced by Madeline O’Malley
Karen J Revis Studio
” I appreciate Karen’s enthusiasm for paper and printmaking procedures. I enjoy how she draws a connection in between Black experiences through color, pattern, and symbolic aspects in each print.”
Cheryl R. Riley
” If you are a die-hard pattern enthusiast like me, you will be drawn to Cheryl’s Kaleidoscope art series. It exhibits the charm of lively color and pattern repeats in natural shapes.”
Studio Lani
