The Wall Post Katrina
In 2007, two years after the massive flooding that followed Hurricane Katrina, Professor Bennett and his wife visited the old chapel and photographed The Wall. (Click on the images for a larger view.)
Said about The Wall
From This Week at
Xavier, 6 July 1976, page 2:
Enthusiastic
Ghanan/Parisian
Claude Kwaku Akpokavie, vice president of the executive
council of the International Movement of Catholic Students, a native of Ghana,
headquartered in Paris, was a guest speaker at the Louisiana Catholic College
Student (LCCS) convention attended by some 50 Xavierites.
Following the convention, Akpokavie spent two days at
Xavier, speaking at Mass during Black Faith History Week, savoring the African
symbols in the art wall of the chapel, becoming enthusiastic about the Xavier
story and promising to share it everywhere.
* * *
Denise Newman: Thoughts
1 July 1975
The experience of having a part in the making of a ceramic
wall for the Chapel here at Xavier University has been both a learning
experience and a chance to use what knowledge I already possessed to achieve
something I had never done before. I had never worked with anything so large in
size, so that from the beginning I had to think of design and composition in a
much larger scale and then try to break it down so that it could be worked out
and, in the end, become a work we could be proud of.
I had an opportunity to learn how it is to work with others
instead of alone. Julie [Romain] and Reggie [Atkinson], with Mr. Bennett were easy to work with,
and everyone seemed to give everything of his or her talents and ability. We all went
through each step together, sharing the problems that went with it. Having
already done some tiles, through trial and error, we learned a pretty good
formula for making tiles that would not crack or break before firing or after.
Through teamwork and this experience we were able to make tiles of any clay
body and not have them break. This was an advantage so that the only thing to
worry about was firing without breaking.
Firing proved to be a learning experience for everyone. With
Mr. Bennett’s help, everyone got a chance to learn how to fire the kiln, and
each of us got a chance to do a firing alone. I had already known a few
things about firing the kiln but to do it by myself was something different.
Now I understand pretty much what it is all about and feel quite confident in
firing the kiln. I think we all do.
In making the slabs, or tiles, we were able not only to use
the African symbols we had set down as a basis for our subject matter, but also
to use designs which could be considered an offshoot of the symbols and at time
jut simply “play” with the medium of clay. It was not only a learning
experience but also just fun. This really gave me a chance to use clay in ways
I had not previously done and to appreciate clay and use it simply for what it
is although we were confined to a flat surface pretty much. We also
experimented with combing different clay bodies, and they were all very
successful.
We were concerned with trying to make the tiles
surrounding each piece express an idea which could be carried through, so that
there would be some unity, not only the surrounding area but throughout the
entire wall. Even though we had an idea of general composition and size, and we
worked accordingly, things changed as we worked. I learned not to panic when
things did not go exactly according to the way we planned even though the
planning itself was not very detailed.
The dimensions of the projected wall changed a couple
of times – which altered our plans a little, but as Mr. Bennett would say, “It
is all part of the creative process.” The tiles were numbered on the backs and
where they were positioned on the plywood panels, so that placing them would be
easier once the wall was up. The redwood beams were placed at positions,
horizontal and vertical, to achieve good design throughout the wall space. We
rubbed stain into the beams after they were attached to the panels and then
coated them with a wax finish. Although this was a small thing, it was
something new to learn for me and for everyone else.
That is what I really liked about the whole experience,
learning new things along with using things I already knew. The process of
putting the titles on the wall with adhesive, then laying in the grout which we
colored ourselves, was also different. We also appreciated Father Moses
Anderson’s help and support throughout the entire venture. I think he probably
learned as much as we did about what it takes to do something like this.
Not only did we learn something from our own experiences but
also from Mr. John Scott, who did a wooden sculpture piece out of redwood, in
relief, and a bronze piece.
The whole time we were constructing and building the wall,
it was fun, but at the same time, everyone worked hard. I think if anyone were
to see the completed project, one would be able to see exactly that. Mr.
Charles Graves, our design instructor, stopped in one day and made a comment.
He said, “The wall gives me a friendly, warm feeling.” That was a compliment
which really made us feel good. I think that even though we did not set out to
do this on purpose, it is something that should be felt in a chapel setting so
that people will be able to “feel at home” when they come in to pray or to
celebrate the Eucharist.
All I can say is that I am glad I had the chance to do
something like this for my own experience, to work with my friends, and to do
something worthwhile for the school. I’ll never forget it.
Julie Romain: Thoughts
30 June 1975
I’m witnessing the development of a wall space and at the
same time, in excitement, exploring what can be achieved from it. Every now and
then, I have an urge to stand back and visualize the entire wall as a completed
design.
From the very beginning of preparing the surface, I had the
opportunity of sharing my ideas, but, more important to me is the experience
and knowledge gained by working with other students. While working together we
can incorporate each other’s ideas to develop the wall into a unified theme. I
personally feel this adds more excitement to a project and enhances the surface
in seeing a variety of approaches and style develop and grow into one. Every
mark placed up a clay surface is a reflection of a ceramist as an individual.
It’s part of her – not to say, “She has done this,” but to realize it comes
from within her personal character, and in taking several clay slabs together,
we can read sometimes her motivation.
We began with a general placement for the tiles. Using
African signs, we proceeded in making the ceramic-tile slabs, which convey an
Afro-American theme. From this very point I enjoyed maneuvering my ideas to
conform with the ideas of others by using surrounding pieces so that each piece
would become integral to the entire theme.
As I became more involved with the actual construction of
the wall, where I was able to see it from a distance, I could understand and
experience an African language interpreted in another way. And that way is
visual form. Ideas and conceptions are visually flown across the small chapel.
The wall has contributed to the present atmosphere of the chapel area to those
who will enjoy it.
It is a special feeling to know that we can bring about
reaction of our observers as they pass through the chapel and view the wall in
progress.
Reginald Atkinson: Reflections
Summer 1975
My name is Reginald Atkinson, and I am a senior, majoring
the BFA program (Bachelor of Fine Arts) at Xavier University. Because of my
love for ceramics, along with other areas of creativity, I and two of my
(fellow?) (female) classmates (Denise Newman and Julie Romain) were asked if we
would accept the job of putting together a huge ceramic-tile wall. Upon hearing
this question, I joyfully replied, “Certainly, of course, I’d love to,” and at
the same time I told myself, “There goes my whole summer, rats!!!”
Well, despite that, the work was begun about a week after
the Art Department’s year-end show was over. To be exact, it was Monday, May 26th,
when I walked into the building about 9:30 A.M., and there was Mr. Bennett, my
ceramics instructor, and engineer of the entire wall job, already pulling out
the plywood boards upon which the tiles would be placed. I remember Mr. Bennett
“whipping out” his sketchbook with the plan of the placement of the boards, the
length of this one, the width of that one, the height of the whole. I stood
there nodding my head as if I understood all that he was saying, knowing deep
inside, I was as confused as hell – I could be.
The first thing I had to do was make the markings on all
eight of the boards indicating where the 2x6 cedar boards and 1x2 boards would
go. Doing just this simple task took longer than I expected, and I said to
myself, “I know this job isn’t going to end, we’ll be working on it through
eternity.”
After the plywood boards were finally marked and measured,
with the help of my brilliant instructor, we laid all of them flat on tables,
in their correct order, and at that moment as I gazed at 14 square feet of
blank plywood, I wanted to tell Mr. Bennett, “I might not be able to help y’all
after today, I gotta go paint my grandmother’s house.” But I gathered my senses
and said to myself, “It’s not impossible. This wall-job can’t last forever – or
can it?” That was the first day for me on the job. The remaining days of that
week and the weeks to follow would keep us pretty busy and would help me keep my
mind off the seemingly impossibility of doing such a job.
The days between May 27th and June 20th
saw Julie [Romain], Denise [Newman], and myself, not to leave out Mr. “B”, mixing stoneware,
earthenware, and raku clay. Those days saw minutes of tedious wedging to get
the clay at a proper consistency for rolling it out into slabs. There we were
for hours, weeks, pounding, slamming, punching, pressing, rolling clay, this
piece 12”x12”, that piece 18”x22”, make that slab out of raku clay about
14”x18”. Those days found us running back and forth to those plywood boards now
filling up, forgetting what size slabs we had to make, forgetting what design,
what symbol went where, a slab that was there one day and gone the next.
“Didn’t you make that slab, Denise, to go there?”
“Yeah, I’m sure I made it, because I know what designs I put
on it.”
“Julie, what goes next to the justice symbol?”
“It’s that piece I made with the stoneware clay. It’s in two
parts.”
I remember many afternoons, with the temperature in the high
80s, listening to the radio Mr. Bennett would bring, two fans constantly
humming, blowing its sometimes cool, sometimes warm air on us. I remember some
mornings, each of us silent, in our own little world, rolling out a slab,
sitting down quietly laboring over a particular design, occasionally humming or
singing along with the songs on the radio. I think back and see us laughing at
a joke somebody said, or laughing at something funny one of us did, all the tie
contently working on another slab.
I remember afternoons when our faces were wet with sweat,
running back and forth checking the temperature of the kiln, while the pieces
were inside glowing fiery hot. The joy that filled us when our first pieces came
out of the firing the next day, the smiles on our faces, knowing that we were a
bit closer to the final steps. I can easily remember when we saw all the pieces
fired and laying on the tile boards, everything in its right place. I can
easily remember the ecstasy of our successful raku clay firings, the beauty of
those pieces, gleaming in the sunlight.
I think it’s time for me to close up on these reflections.
I’m beginning to sound like a poet, which I am not! But every moment of all
those days I spent working on this project were delightful moments, a new
experience, a fragment, a fraction more of knowledge gained, also learning to
live and work in harmony with others, a very essential quality. Now the job is
almost complete. All the pieces are up, the wall itself is up in its place in
the chapel, and the only thing left to do is to fill in the areas left around
the pieces.
It was pure fun working with Mr. Bennett, Julie and Denise,
Mr. [John] Scott, Timothy [McGary] and Jane [Wallace], Michael [Russer] (also members
of the art department who contributed their time and effort to the job), and
last but not at all least, Father Moses Anderson, for if it were not for him,
we would have never had the job. I thank all of these people who have played a
part in my life, to make the job which I thought was impossible a reality. I’m
glad I was a part of it all. These have been reflections.
The Participants
After nearly 40 years since the building of the wall, a few photos remain.
 |
| The 1974 Graduates who launched the project: Ozzie Davis and Paula Cherry. |
 |
| Graduation Day 1975 Julie Romain, Professor Bennett, Reginald Atkinson, Father Moses, Denise Newman. |
 |
| Father Moses, the graduates and Professor Bennett |
 |
| Professor Bennett and the completed Wall |
 |
| Reginald Atkinson |
 |
| Professor John Scott, chairman of the Art Department |
 |
| Timothy McGary (above) lent a helping hand in the construction of The Wall. John Ware (below) was the photographer for the Herald, the student newspaper. |
Professor Bennett's Thoughts Upon Completion of the Wall
Summer 1975
The erection of this wall is an effort of love, devotion,
dedication and sacrifice on the part of several persons, spearheaded by the inspiration
and determination of Father Moses Anderson. Father’s belief and confidence in
people, especially young people, helped to create the wall. This wall is not an
end in itself but only one of many milestones in the renewed awakening and
involvement of the total community here at Xavier.
Many hundreds of man hours were purposely set aside by
students and faculty to bring the wall to completion. Many times these hours
were sacrificed not only by those involved but their families as well.
The wall had its beginning as a Senior Project of two
students, which resulted in an unfruitful effort during the spring semester of
1975. Dedication, confidence and sacrifice were not among the ingredients in
this initial effort. However, the first effort served as a catalyst for the
then Junior students to resurrect from the ashes and bring the wall to a
fruitful conclusion. To these students -- Reggie Atkinson, Denise Newman and
Julie Romain, all BFA senior students majoring in ceramics -- I want to express my gratitude for their commitment, dedication
and attitude of professionalism.
A few problems did arise which delayed the completion; most
of them were technical in nature. The most outstanding were in the breakage of
the tiles and tesserae and were problems related to the firing process. After a
satisfactory method of handling raw tiles and a firing technique was devised,
plus increased work space and uninterrupted studio work time gained with the
beginning of summer, our losses and problems became nil.
In the weeks that followed shortly after the end of the spring
semester, we developed a closer student-teacher relationship and a cohesive
work unit was formed. Prior to this time our work was viewed as an extension of
the teaching situation, but now we were able to draw on the increased benefits
afforded us on the spiritual and professional levels.
We then proceeded into the erection stage of the wall within
the confines of the Chapel. With this close proximity of the Blessed Sacrament,
a feeling of love, respect and honor was experienced. Later our feelings began
to manifest themselves in our wall. Very subtle relationships emerged,
which were originally intended but not with the intense religious impact as
they are now endowed.
We, as modern Christians and citizens of America, are
accustomed to seeing many symbols in our daily lives, so much so that symbols
sometimes serve only as shallow recognitional devices; and we sometimes react to them merely in a conditional response manner with little or no intellectual
deliberation. At first, I personally reacted to the use of the African symbols
only as an artist engaged in the application and adapting of those symbols as
elements for a creative expression with something less than complete awareness
of the religious symbolic impact.
Many elements in my early religious training have been
awakened and stimulated by my work on the wall. I feel that I have made a
positive contribution to my students’ development and that the wall will
continue to inspire students in the future and society as a whole.
* * *
May 1985, further thoughts:
I have always been intrigued with the construction of forms
using various materials which were geometrical, but yet organic in
structure. It is because of this seemingly incongruous dichotomy that I find
excitement. My concern for structural contrast does not overshadow my respect
for the plastic quality of clay. In all of my works there is a conscious effort
made to consistently reassure the viewer that the medium is clay. And clay not
only has a “mind of its own” but when it has been subjected to manipulation and
intense firing temperatures it is impossible to totally predict or completely
control the outcome of it or final form in respect to physical appearances.
The Wall of Contemplation
In the spring of 1974, the Rev. Moses B. Anderson, S.S.E.
(MA in Theology XU '68), then the chaplain of Xavier University of Louisiana, obtained
a grant from the Danforth Foundation to be used in the renovation of the
school’s chapel. Father Moses consulted with Lloyd Walter Bennett, Jr. (XU
’60), then a professor of Art Education and Fine Arts at XU, regarding the
construction of a suitable background for a tabernacle and wood altar made by
Julius Saul (XU ’59). John Scott (XU ’62), then chairman of the Art Department,
participated in the discussion, the result of which was a challenge to Bennett
to design a freestanding wall to be placed behind the altar and tabernacle.
The approved design was a combination of ceramics and wood,
with ceramic, bronze and wood tiles mounted within a wooden ladder-like
framework. The decoration on the tiles incorporated Ashanti adinkra symbols and
other representations of the African American experience, which complemented
the priest’s kente cloth vestments.
 |
The framework, dubbed “Jacob’s Ladder” by the participants,
was constructed of California redwood by Henry Lemieux, supervisor of the
maintenance department, and his crew, Charles Collins and Charles Baquet, the university engineer. Each of the ceramics artists requested to be
responsible for specific tiles. Professor Scott was asked to contribute a cast
bronze plaque and to carve a redwood image interpreting the Adinkra symbols for Gye Nyame (the omnipotence of God) and Nyame Ye Ohene (the majesty and
supremacy of God).
The chapel was located in the administration building at the corner of Palmetto Street and Drexel Boulevard (formerly Pine Street).
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