Wood, metal, goatskin. The neck features marquetry based on artistic motifs found in Surinamese Maroon arts and the gourd skin is etched into design elements found on the Haitian Banza, one of four known surviving early gourd banjos. Although this is a contemporary instrument made to be played, it speaks to the Afro-Caribbean origins of the banjo through the design.

Wood, metal, goatskin. An imagining of what a gourd banjo may have looked like in the late 1700s South Carolina. There are only four pre-industrial gourd banjos that survive in the world, and they are all held in European collections. The artist was asked to commission this instrument for the Barry Jenkins production of Colson Whitehead's Underground Railroad TV show, exploring what a gourd banjo from South Carolina may have looked like. Pete took decorative elements from ritual drawings found on an African American grave in the South Carolina Sea Island and elements from the four known gourd banjos.

Wood, gourd, mother of pearl, metal, goat skin. Detail of a mother of pearl and metal inlay based on late 19th century illustrations.

Wood, metal, mother of pearl, goatskin. This banjo reflects the trends and ideas of the late 19th century, high Victorian banjos. The hand-cut mother of pearl inlays are based on the decorative designs of William Morris and add to the gaudy, if beautiful, over-the-top designs of the era.