In Sonia Barrett's practice, she explores themes of loss, gentrification, and collectivity through assemblages, sculptures, gatherings, and in-depth archival research. The materials that she leans on to speak to aspects of colonial displacement and interspecies objectification are furniture, composites of plants and animals, tablecloths, and hair. We began our conversation by revisiting her Flint project. In this body of work, Barrett explores England's earliest aquatic animals that were extracted from their habitats, objectified, and weaponized by England's industrial industry. Barrett utilizes the Flints as a catalyst to speak about how prehistorically and now Black and Brown people were extracted from their landscapes, colonized, and objectified. With her work, Barrett often questions how we can reset. To Barrett, environment and race are interlinked. She quotes, "You can authentically be of two soils, it's like a metaphor for multiple fluid identities. I think the problem is Blackness is always put into spaces of fixity, but it's a natural thing." We see examples of this in her assemblage work, which incorporates West Indian furniture found in the UK, prompting consideration of what it meant to create a new home in another country. During her residency at Fountainhead, Barrett has spent a considerable amount of time outdoors, exploring the mangrove trees in Miami. She reflects on the way the mangrove roots are a saving plant; this idea of rooting that needs and can manage both saltwater and freshwater has shifted her focus to plants that require change. Also, the color blue that surrounds Miami has found its way into a new piece she's created during her residency. Time spent at Fountainhead has also led her to an expansive way of utilizing furniture to represent all that has been lost, and as a testament to a solution to the emptiness.