When the team at Figure Plant was invited to collaborate on a new art installation for Multnomah County Library’s first-ever Black Cultural Center, we knew this one was special. Guided by community input, the space was designed not just to serve, but to celebrate—the stories, voices, and future-forward vision of Black creatives.
To help shape the artistic heart of the space, library leaders and the Regional Arts and Cultural Council (RACC) partnered with Portland-based artist Melanie Stevens, who was commissioned to create a woodwork installation honoring Black Afrofuturist literary icons including Sun Ra, W.E.B. Du Bois, Octavia Butler, and Zora Neale Hurston. Melanie’s bold vision and intricate linework needed to be translated into dimensional form—and that’s where we came in.
Over the course of many months, Figure Plant worked closely with Melanie to bring her concept into the physical world—navigating challenges in materiality, machine translation, and artistic nuance with care and creativity. We sat down with her to talk about the process, the partnership, and how it all came together.
How did you feel going into this collaboration with Figure Plant?
I was both excited and nervous. This was the largest public art project I’d ever taken on—and I wasn’t sure how my style would translate into a three-dimensional format. But the moment I began working with the Figure Plant team, especially Ryan, who led the CNC Operation and Toolpathing, I knew I was in good hands. They weren’t just technicians—they really understood the art and wanted to honor the concept behind it.
What was that collaboration process like for you?
In a word? Supportive. From the first meetings, I felt like the Figure Plant team really took the time to understand my vision. There were constant check-ins, collaborative discussions, and openness to feedback. I never felt steamrolled or sidelined, even when there were technical challenges. They helped me rework my line art to be machinable while still preserving the hand-drawn quality that’s central to my work. And when a prototype didn’t look quite right, they instinctively knew—and adjusted without me even having to ask. That kind of artistic empathy is rare.
What were some of the biggest challenges in bringing this piece to life?
The technical translation of my artwork. My style involves a lot of expressive, tapered lines—which can be difficult to recreate with CNC routers or laser cutters. But, the Figure Plant team found ways to preserve the depth and emotion of my original drawings. They even rethought the layering of the wood panels, adding subtle angles and dimension that made the final piece more dynamic than I imagined.
Were there any specific moments where you felt, “Wow, we’re really aligned on this”?
Absolutely. Early on, we tested different wood types and I had a very strong vision for the tone and feel I wanted—something rich, warm, almost vintage, in line with traditional libraries and Afrofuturist themes. One test flattened out all the character in the linework, and I didn’t even have to say anything—the team immediately knew it wasn’t working. From that point on, I felt total trust. They were protecting the integrity of my vision as much as I was.
What role did Figure Plant play in helping you expand or explore new techniques?
Honestly, they opened my eyes to what’s possible when technology meets craftsmanship. I’ve always thought of myself as a hands-on artist—more analog than digital. But seeing how they translated my work into wood with such nuance made me realize that these tools don’t replace the artist—they extend them. Ryan and the entire Figure Plant team brought such sensitivity and artistry to the fabrication process. It was like having another collaborator who truly got it.
What did it feel like to see the final piece installed in the library?
Powerful. Libraries raised me, so having my work live in one—especially a space dedicated to Black culture—was deeply personal. I remember seeing kids standing under Octavia Butler’s portrait during the opening and thinking, “What if this inspires them to look her up? What if Kindred changes their life like it did mine?” That possibility is what art is about.
For us at Figure Plant, this collaboration was a perfect example of what happens when artists and fabricators work in deep partnership. Melanie came to us with a clear and powerful vision—and through trust, communication, and mutual creativity, we helped bring it to life with precision and care.
Whether it’s working with local artists, creating for cultural institutions, or exploring new approaches to craft and storytelling, we’re always honored to be part of meaningful work like this.
To see Melanie’s work in person, visit the newly opened Black Cultural Center at North Portland Library. It’s a space of history, imagination, and inspiration—and we’re proud to have played a part in shaping it.
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