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Space and the relationship with
her space influences the way in which
Pamolu works and creates. When
Pamolu originally bought 105 Hay
Street—the building across the street—
she decided to swap with John Tyson,
who owned 114 Hay, where she resides
today. e vital elements of 114 Hay
Street (light and space) were important
to Pamolu. In terms of architecture, she
loved the walls and the heart pine floors.
Pamolu likes the real. e guts.
e story. Each and every item in her
lo—from the metal chairs from India
around her table to the geode cracked
in half that glitters purple on her
coffee table—comes with a tale. e art
adorning her walls, Pamolu knows the
history and context. In many cases, she
knows the artist personally.
Take, for instance, the huge four-feet
by eight-feet Picasso-esque flounder
which hangs above a Chinese cabinet
from Pinehurst. It is the same flounder-
fish she looked out upon every time
she le Steele Street Methodist Church
as a young girl. For years—aer she
sang in the choir, delivered a sermon
as an eleventh grader or passed the
collection plate—she saw the graying
and blue flounder hanging above the
Steele Street fish market. Aer college,
on another trip home, she stopped by
the fish market to see what had become
of it. e man had taken the sign down
the week before. It was torn. Pamolu
had to have it. He sold it to her for $5.
Pamolu's lo has three levels
with an entrance at the back of the
building. On the first level there is
Pamolu's workspace for creating
sculpture ("When it gets warmer I'll be
down there working.") and a "wall of
honors," full of photographs, portraits,
snapshots and memories of friends,
relatives and loved ones who are as
dear to her as family. Up the stairs
and on the mezzanine is a space for
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