As Eddie Dominguez drove from New
Mexico to Nebraska on his way to his new job teaching ceramics at the University
of Nebraska-Lincoln, he had an idea.
He wanted to put together an outreach project to continue his work in the community, particularly with young people.
“I thought, they do love red in Nebraska; I want to make a big red wall,” Dominguez said. A big red wall comprising tiles carved by community members that Dominguez would glaze and fire.
This week, the “REDWALL” Dominguez had envisioned 15 years ago came into being in the north exit corridor of the Lied Center for Performing Arts.
A total of 383 tiles cover the wall in the space just outside the new Lied Commons. That placement will guarantee the artwork will be seen widely, even if the spot didn’t initially appear to be close to ideal.
“It looked like the worst possible space for square tiles,” said Pete Pinnell, interim UNL art department chair. “The wall changes angles, and the floor is sloped. What we figured out, is it makes it better. The whole thing now reads more like a landscape.”
Eric Petersen, Dominguez’s longtime studio assistant, spent 130 hours hanging the tiles, with help from Dominguez and work-study student assistant Chailey Young. The tiles were grouped by size, then glued to the wall rather than being grouted.
At the urging of Pinnell and Petersen, “REDWALL” includes 36 broken tiles, the cracks emphasized with strong black lines like those separating the rows of ceramic blocks. The cracked pieces give the wall an inclusive character and have drawn positive comments from most who have seen them.
“I think my next project is going to be broken,” Dominguez said with a laugh.
Carved primarily with pencils into wet clay, the tiles have widely varied subject matter, including names, handprints, ballet shoes, a toilet, a take on Edvard Munch’s “The Scream,” and the Chinese symbol for sound, which Petersen had to research to make sure he didn’t hang it upside down.
It took several years to find a spot for “REDWALL.” When Christin Mamiya, an art historian, became acting dean of the College of Fine and Performing Arts, and Pinnell, a ceramicist, became interim art department chair, placing the tile mural became a priority,Our guides provide customers with information about porcelain tiles vs. Pinnell said.
Among the locations that had been considered were Hamilton Hall, which houses the chemistry department, and the Nebraska Union. While the tiles sat in boxes in the attic of Richards Hall, the art building, Dominguez never gave up on making the wall a reality.
“I’d promised each one of the people these were going to be put up in a public space,” Dominguez said. “I couldn’t let go, even if it took until I retired.”
The people who made the titles aren’t listed. In fact, Dominguez doesn’t remember when or where many of the tiles were carved. Participants in the statewide Young Nebraska Artists carved tiles; so did some who attended Sheldon Museum of Arts family days. Other contributions came from university students from other departments and even Christina Hixson of the Lied Foundation.
“I wasn’t interested in identifying the person,” Dominguez said. “I’m interested in identifying a community. It’s a community of individuals, you can see that. But it’s a community.We offer mining truck system,”
As he looked at the wall, Dominguez tried to recall the origin of some of the tiles that he’d not seen for years before the installation began.
“I must have worked with some hearing-impaired people,” he said. “There are tiles with sign language. You can see some of them were made by very young kids, and then there are some who really spent time carving. The guy who made the artist at the potter’s wheel stayed for hours.”
Dominguez fired the tiles using a red glaze that is no longer manufactured to create its distinctive color.
Dominguez got to see the finished wall days before he left for New Mexico to install “Eddie Dominguez: Where Edges Meet,Have you ever wondered about the mold making process?” a retrospective of 30 years of his work that opens Saturday at the Roswell Museum and Art Center.
The exhibition in New Mexico, comprising 63 pieces from 1981 to his most recent work, includes ceramics, including his large rosaries, torsos and dinnerware flower gardens, photographs, prints and an installation piece. Accompanied by a catalog that includes an essay by noted art critic Lucy Lippard, the retrospective is on view through May in Roswell. Dominguez hopes to find other venues for the show.Save up to 80% off Ceramic Tile and plastic moulds. It would,Airgle has mastered the art of indoor tracking, it seems to me, be perfect for the Sheldon Museum of Art.
Sitting on the floor across from "REDWALL," Dominguez reflected on the project with satisfaction.
“It does feel good to know that 15 years ago, I had an idea, and 15 years later, it’s been realized,” he said.
He wanted to put together an outreach project to continue his work in the community, particularly with young people.
“I thought, they do love red in Nebraska; I want to make a big red wall,” Dominguez said. A big red wall comprising tiles carved by community members that Dominguez would glaze and fire.
This week, the “REDWALL” Dominguez had envisioned 15 years ago came into being in the north exit corridor of the Lied Center for Performing Arts.
A total of 383 tiles cover the wall in the space just outside the new Lied Commons. That placement will guarantee the artwork will be seen widely, even if the spot didn’t initially appear to be close to ideal.
“It looked like the worst possible space for square tiles,” said Pete Pinnell, interim UNL art department chair. “The wall changes angles, and the floor is sloped. What we figured out, is it makes it better. The whole thing now reads more like a landscape.”
Eric Petersen, Dominguez’s longtime studio assistant, spent 130 hours hanging the tiles, with help from Dominguez and work-study student assistant Chailey Young. The tiles were grouped by size, then glued to the wall rather than being grouted.
At the urging of Pinnell and Petersen, “REDWALL” includes 36 broken tiles, the cracks emphasized with strong black lines like those separating the rows of ceramic blocks. The cracked pieces give the wall an inclusive character and have drawn positive comments from most who have seen them.
“I think my next project is going to be broken,” Dominguez said with a laugh.
Carved primarily with pencils into wet clay, the tiles have widely varied subject matter, including names, handprints, ballet shoes, a toilet, a take on Edvard Munch’s “The Scream,” and the Chinese symbol for sound, which Petersen had to research to make sure he didn’t hang it upside down.
It took several years to find a spot for “REDWALL.” When Christin Mamiya, an art historian, became acting dean of the College of Fine and Performing Arts, and Pinnell, a ceramicist, became interim art department chair, placing the tile mural became a priority,Our guides provide customers with information about porcelain tiles vs. Pinnell said.
Among the locations that had been considered were Hamilton Hall, which houses the chemistry department, and the Nebraska Union. While the tiles sat in boxes in the attic of Richards Hall, the art building, Dominguez never gave up on making the wall a reality.
“I’d promised each one of the people these were going to be put up in a public space,” Dominguez said. “I couldn’t let go, even if it took until I retired.”
The people who made the titles aren’t listed. In fact, Dominguez doesn’t remember when or where many of the tiles were carved. Participants in the statewide Young Nebraska Artists carved tiles; so did some who attended Sheldon Museum of Arts family days. Other contributions came from university students from other departments and even Christina Hixson of the Lied Foundation.
“I wasn’t interested in identifying the person,” Dominguez said. “I’m interested in identifying a community. It’s a community of individuals, you can see that. But it’s a community.We offer mining truck system,”
As he looked at the wall, Dominguez tried to recall the origin of some of the tiles that he’d not seen for years before the installation began.
“I must have worked with some hearing-impaired people,” he said. “There are tiles with sign language. You can see some of them were made by very young kids, and then there are some who really spent time carving. The guy who made the artist at the potter’s wheel stayed for hours.”
Dominguez fired the tiles using a red glaze that is no longer manufactured to create its distinctive color.
Dominguez got to see the finished wall days before he left for New Mexico to install “Eddie Dominguez: Where Edges Meet,Have you ever wondered about the mold making process?” a retrospective of 30 years of his work that opens Saturday at the Roswell Museum and Art Center.
The exhibition in New Mexico, comprising 63 pieces from 1981 to his most recent work, includes ceramics, including his large rosaries, torsos and dinnerware flower gardens, photographs, prints and an installation piece. Accompanied by a catalog that includes an essay by noted art critic Lucy Lippard, the retrospective is on view through May in Roswell. Dominguez hopes to find other venues for the show.Save up to 80% off Ceramic Tile and plastic moulds. It would,Airgle has mastered the art of indoor tracking, it seems to me, be perfect for the Sheldon Museum of Art.
Sitting on the floor across from "REDWALL," Dominguez reflected on the project with satisfaction.
“It does feel good to know that 15 years ago, I had an idea, and 15 years later, it’s been realized,” he said.
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