The Daily Heller: Black Caribbean Craft and Design on the Rise

The beauty, imagination and complexity of the arts and crafts of Black Caribbean artisans is front and center in Malene Djenaba Barnett’s deeply researched new book, Crafted Kinship: Inside the Creative Practices of Contemporary Black Caribbean Makers (Artisan Books), an eye-massaging showcase of work that has been long-growing in plain sight. The author is a multidisciplinary artist and textile designer whose work has been featured in major publications such as Elle Décor, Architectural Digest, The New York Times and more. She is also the founder of the Black Artists and Designers Guild, a global platform and community of independent creatives. Barnett has Caribbean roots in St. Vincent and Jamaica, and currently lives in Brooklyn.

We spoke about the expanse of influences and inspirations that have contributed to a vital art and design community of kindred spirits, and about raising awareness around Caribbean makers and ceramic art traditions of the Black diaspora.

What inspired this research and development?
My research and development for Crafted Kinship began during my MFA at Tyler School of Art and Architecture. While studying ceramics, I found myself diving deeper into my heritage—my mother is from St. Vincent and the Grenadines, and my father is from Jamaica. As a first-generation American, I wanted to understand what it means to exist in this in-between space of belonging. That exploration started with my creative practice but grew into a broader inquiry into how Black Caribbean makers use their work to tell stories, preserve culture and innovate. It became about creating a dialogue around shared histories and the resilience that ties us together.

You are a textile artist and designer in your own right. How many unknown artists and artisans did you know before doing this project?
Before starting this project, I personally knew a few makers, and I was familiar with most, but many were new to me as well. The Caribbean’s creative ecosystem is vast and often underrepresented, so researching to find makers from as many islands as possible was deeply exciting. As a stranger to most of the makers, I felt honored that they allowed me into their studios, which are often off limits to many. It was both humbling and inspiring to learn about their practices and how they use creativity as a tool for storytelling and social change.

Where does your own work fit into this continuum?
My work sits at the intersection of storytelling, cultural preservation and innovation. As a multidisciplinary artist and textile designer, I see myself as part of the same continuum as the makers in Crafted Kinship—we’re all drawing from deep cultural wells while navigating the complexities of our present. My work often explores themes of migration, identity and memory, and this project expanded my understanding of how those themes resonate across the Caribbean diaspora.

What did you learn socially, culturally and artistically from your research into their work?
Socially, I learned how interconnected we are despite geographic distances and how creativity serves as a bridge for community-building and resistance. Culturally, I saw the depth and breadth of influence Black Caribbean makers have globally, even if their contributions are often overlooked. Artistically, it was a reminder to stay authentic—these artists taught me the power of creating from a place of personal truth and cultural pride.

What is the African diaspora’s importance in this Caribbean experience and practice?
The African diaspora is not just a part of the Caribbean experience and creative practice, it is at its heart. For many of the makers in Crafted Kinship, their work is deeply tied to carrying forward the traditions and values of our African heritage. The diaspora is the foundation—the cultural, spiritual and historical thread that connects us across borders and generations. It shapes how we make, how we see the world, and how we tell our stories. Whether through textiles, ceramics or design, there’s a constant dialogue with African traditions—adapting and reinterpreting them within the Caribbean context. This connection to the diaspora isn’t just about honoring the past, it’s about grounding ourselves in resilience, innovation and a sense of belonging that transcends place.

How exhaustive was (and is) your quest? There are so many unfamiliar artists.
When we talk about unfamiliar artists, it’s important to ask—unfamiliar to who? Within the Caribbean diaspora, these makers are deeply known and celebrated. They are accomplished makers of various disciplines whose work holds significant meaning within their communities and cultural landscapes.

This project isn’t about “introducing”‘ them but rather amplifying their voices in a broader global context. Crafted Kinship aims to bridge that gap, showcasing the incredible depth and innovation of these makers while emphasizing that they’ve always been integral to the story of Contemporary Caribbean creativity.

You founded the Black Artists and Designers Guild. Tell me about its goals and accomplishments.
The Black Artists and Designers Guild (BADG) was founded with the goal of empowering Black makers of African descent to create culturally immersive spaces that reflect our heritage and identity. We wanted to build a community where we could support each other and collaborate under the principle of Ujima—collective work and responsibility. It’s about creating spaces that are for us, by us, and connecting in ways that amplify our shared vision.

Our journey began with humble beginnings—we showcased our work in the corner of a consignment furniture store. Today, we’ve had the honor of designing the library for the Smithsonian Design Triennial at the Cooper Hewitt, known as the Underground Library, and we’ve worked on many significant projects—such as curating the Beyond the Mask Exhibition, Blackflauge at the VIP Lounge at Design Miami and designed murals for Colossal Media. Each of these accomplishments represents a milestone in our mission to elevate and support Black artists and designers.

Author Malene Barnett. Photogrrapher: Alaric S. Campbell.

What do you have planned in the wake of this book?
In the wake of this book, I plan to continue my book tour across the United States, the Caribbean and Europe, reaching as many places as possible where the Caribbean diaspora is present and where communities are eager to support the makers featured in Crafted Kinship.

But this book is also a resource that’s inspiring me to go deeper into my own creative practice. The research and connections made through this project are pushing me to explore new ways of engaging with themes of heritage, identity and community. I look forward to developing more installations through my studio, as well as developing public art projects. These themes will continue to inform my work, and I’m excited about the new possibilities that will unfold as I dive further into this exploration.

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