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art ("Yahoo for Jesus," crucifixes, sculptures, animal
masks, a china plate with the face of Jimmy Carter and
a price tag) and a long, wide white table, with its edges
adorned with bottle caps which serves as a work space
for writing. Upstairs, where the 100 feet of lo space is
in all its glory, there is freedom. Freedom of expression.
Freedom from constraints. Freedom to be what you are,
who you are and how you are. All with the freedom of
the real, the true. While talking about what was most
crucial to Pamolu's aesthetic, she determined, "Every
material is real. From the pillows to the walls to the
floor to the paintings to the ceramics, all of it is made
from real materials. ere's a feeling—a calm feeling—
that comes from something being exactly what it is
rather than trying to appear what it is."
e art on her walls and around her lo hails from
Mexico to Chinatown to India. From the rural South
to the 2nd Avenue shops in New York City. Pieces
have been painted by children, sketched by friends or
given to her as gis. One man in a rocking chair has
a two-liter Mountain Dew bottle as a chest. A four-
paneled pastoral image by Sean McDaniel which was
used for a theater performance at Fayetteville Technical
Community College is behind her mother's dining
table. "People put mirrors in their house to create
space, but here is a field with atmospheric perspective."
ere is folk art by Mose T (Mose Tolliver). Dogs
and alligators by North Carolina-native Clyde Jones.
Pamolu's own pieces, which have been featured in the
North Carolina Museum of Art (NCMA) twice. Pillows
from Patzcuaro, Mexico, by the ladies of the Rug Hook
