Border Designs from Proposed Portfolio "Maine Wall Stencils" 1935 - 1942

Curator: Here we have "Border Designs from Proposed Portfolio 'Maine Wall Stencils'" created between 1935 and 1942 by Mildred E. Bent. These stencil designs are rendered in a warm, reddish-brown on what looks like aged paper. Editor: There's a comforting simplicity to this; almost humble in its presentation. It speaks to a time when handcrafted details held so much significance within the domestic space. The choice of earth tones creates a sense of warmth and age, like a cherished antique found in an attic. Curator: Precisely. Bent’s designs reflect the continuity of nature motifs used across cultures to beautify the home. The central design evokes a stylized vine, representative of growth, resilience, and the interconnectedness of life. These images are cultural shorthands for very elemental concepts. Editor: And these repeated motifs speak to the politics of aesthetics during the Depression era. Making one’s home beautiful wasn’t simply about personal taste; it was an act of defiance against economic hardship, an affirmation of life during trying times. Decorative art had an important role to play in social identity. Curator: Yes, there is a deep human need to create beauty, especially in moments of upheaval. The regularity and symmetry can be seen as visual symbols of order and stability, something sought during this period. Even in these humble materials, the impulse to leave a mark is unmistakable. Editor: It is fascinating to consider the idea of these stencils existing not just as ornamentation, but also as quiet declarations of agency. Every carefully placed leaf and diamond is a statement about the resilience of the human spirit in the face of economic adversity, a kind of visual self-help. Curator: Absolutely, and those symbols linger long after the hands that create them are gone. Editor: I’ll never look at wall stencils the same way again! Curator: Me neither. These borders hold stories we're only beginning to decipher.