“Mr. Melvin just arrived,” she says. “He will join you in a few minutes.” “Thank you,” I respond, stretching out my arm to take the tea-glass. For the last round, a nice foam still sits on top of the now pale green tea. The tea is lighter but extremely sweet and tickles my taste buds. The flavor of the fresh mint prevails. I hear Melvin’s footsteps on the staircase. I re-enter the studio. m Out of the Struggle, 1982 k Breaking the Chains, 1995 Stainless steel Martin Luther King, Jr. Memorial Harbor Drive & 2nd Street San Diego California o Confirmation, 1989 Stainless steel The Joseph P. Addabbo Federal Building in South Jamaica, Queens BLACK RENAISSANCE NOIRE © 2014 MELVIN EDWARDS / ARTIST’S RIGHTS SOCIETY (ARS), NEW YORK COURTESY ALEXANDER GRAY ASSOCIATES, NEW YORK; STEPHEN FRIEDMAN GALLERY, LONDON © 2014 MELVIN EDWARDS / ARTIST›S RIGHTS SOCIETY (ARS), NEW YORK COURTESY ALEXANDER GRAY ASSOCIATES, NEW YORK; STEPHEN FRIEDMAN GALLERY, LONDON By addressing a large public, Edwards’ large-scale works are a powerful vehicle for peace, respect and dialogue between people, as well as the enhancement of democracy. They cement our stories and reverberate beyond borders in a collective consciousness. I am on the terrace when Adama arrives with a third tea glass. 139 Last year, Edwards was commissioned to produce a large-scale sculpture for the historic Vinegar Hill neighborhood18, in Charlottesville, Virginia. It will be installed at the Jefferson School City Center.