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<v Willie Grimes>Sculpture has had a back seat in their mind's eye. <v Willie Grimes>A lot of them in our classes loved drawing, painting, printmaking. <v Willie Grimes>But, you know, the idea of sculptures <v Willie Grimes>is always some metal piece, that's out. <v Willie Grimes>And they're going, you know, I'm a junior high school kid. <v Willie Grimes>I can't bend steel. I can't weld. <v Willie Grimes>You know, that's something that I'm not a part of. <v Willie Grimes>They're developing a sense about sculpture and shadowplay and <v Willie Grimes>things of that nature. Let them- would never have an opportunity to work on anything <v Willie Grimes>above their eye level. <v Willie Grimes>And some of them now actually have pieces, you know, up 20 feet up in the <v Willie Grimes>air that you drive by and you see up there, not on <v Willie Grimes>a table. <v Willie Grimes>That's a whole new dimension for 'em. <v Speaker>[Intro music]
<v Willie Grimes>I'm not your new art teacher. <v Willie Grimes>I'm not here to take the place of your art teacher. <v Willie Grimes>She's a terrific teacher. <v Willie Grimes>But I've come in as the artist in residence for the Charlotte Mecklenburg schools to help <v Willie Grimes>create our section of a piece of sculpture that we're gonna be putting in downtown <v Willie Grimes>Charlotte. <v narrator>Willie Grimes is a sculptor. <v narrator>But this year, she has not been working alone, really. <v narrator>And hundreds of junior high school students have taken on a massive project. <v Willie Grimes>We're putting up a large piece of outdoor sculpture, and I have a model of it right here <v Willie Grimes>that's called a maquette. It's a nice French term to know. <v Willie Grimes>And you're going to be working on the street. <v Willie Grimes>It's going to be on east second street at the metro center. <v Willie Grimes>And the street comes right along here. <v Willie Grimes>And this has two sections to it. <v Willie Grimes>This one section looks pretty small right now, but in actuality, that's going to be 18 <v Willie Grimes>feet high. It's over two stories high. <v narrator>It was during the 1986 87 school year that Willie spent most of her time <v narrator>at McClintock and 14 other junior high and middle schools working with approximately
<v narrator>1000 students. <v Willie Grimes>Basically, I introduced myself and I take a few minutes to <v Willie Grimes>show the model or maquette to them. <v Willie Grimes>And then the strange clay lady just stands there, starts <v Willie Grimes>talking to them about becoming a part of something larger <v Willie Grimes>than they've ever been a part of before. <v Willie Grimes>But all of this different schools, different junior highs have all created different <v Willie Grimes>sections of these clay tiles. The fun part is going to be when I'm dangling 15, <v Willie Grimes>18 feet up in the air on a piece of scaffolding, trying still to put together this jigsaw <v Willie Grimes>puzzle. It's probably one of the largest puzzles I've put up <v Willie Grimes>far up on scaffolding. <v Willie Grimes>They see the model. And then from that moment on, I bring a concrete pad <v Willie Grimes>and put it on a table. <v Willie Grimes>I start drawing out the actual size of the pattern <v Willie Grimes>onto the concrete pad. <v Willie Grimes>We cut it out. We make duplicates of it.
<v Willie Grimes>The students then take that paper pattern. <v Willie Grimes>They roll out the clay. They pound it. <v Willie Grimes>They work it up and then they number it. <v student>How long Do you think it will take you to get this whole thing up? Like a month? <v Willie Grimes>No, no. The stonemason says he can do it in three days. <v Willie Grimes>And I told him I couldn't put the puzzle together in three days. <v Willie Grimes>So we're going to go for four days. <v Willie Grimes>Every piece of clay had to match that pattern. <v Willie Grimes>And it all had to stay in order. I have hundreds and hundreds of pieces of clay <v Willie Grimes>from all over the school system that had to be kept in some kind of <v Willie Grimes>order. And it is, it's a huge puzzle. <v Willie Grimes>And all I'm going to do is just come in here. <v Willie Grimes>And my younger students love this because they can't <v Willie Grimes>believe you don't have to dig out the clay. <v Willie Grimes>Most students. <v Willie Grimes>I don't care what system its in because I've traveled all over North Carolina for over 16 <v Willie Grimes>years and it doesn't vary that much.
<v Willie Grimes>They've never worked a piece of clay that's any larger than what they can hold in their <v Willie Grimes>hands and sculpture to them is something, you know, <v Willie Grimes>this size, is something this size. <v Willie Grimes>And anything larger than that is beyond <v Willie Grimes>their realm of thinking. <v Willie Grimes>And that's what I wanted to give them a chance to- to, expand their thinking, expand <v Willie Grimes>their experience. And even though as students and a <v Willie Grimes>lot of other people are great at accepting problems and saying, <v Willie Grimes>well, I can't do something cause I have a problem, the counts too small to create <v Willie Grimes>large pieces of sculpture. <v Willie Grimes>I can't handle anything more than this size in my hand. <v Willie Grimes>And they start listing out reasons why they can't do <v Willie Grimes>things with more volume and have more Shadowplay too, and having, you know, a greater <v Willie Grimes>feel of volume. And they come up with all these great excuses which are just not <v Willie Grimes>you're not putting your creative mind to work at that point because a problem is only
<v Willie Grimes>a problem if you let it be to a large extent. <v Willie Grimes>And so when I introduce to them, if this is all you can work with, <v Willie Grimes>then take this size and multiply it by a thousand. <v Speaker>[music plays] <v Willie Grimes>I guess the best way of describing is possibly two monoliths <v Willie Grimes>pulling out of the ground is a good description of it. <v Willie Grimes>You have two forms. One is about 23 feet high. <v Willie Grimes>And the other one is about 18 feet high. <v Willie Grimes>And they're just they're pulling out on an uneven <v Willie Grimes>heights and then they're lined with stone on the inside and slightly <v Willie Grimes>stressed apart like they've been. <v Willie Grimes>There's that tension between the two. <v Willie Grimes>So creates great Shadowplay in all kinds of other good things for the design
<v Willie Grimes>of it that is lined with the glazed clay tiles on <v Willie Grimes>the outside from the stone. <v narrator>It was two years ago that Willie Grimes wrote a grant for the project, which was accepted <v narrator>by organizers of Charlotte's Spring Fest. <v Willie Grimes>After I received word that I had been accepted from the grant, I gave Carrie <v Willie Grimes>Winter. The chairman of the Board of Education here a call, introduced myself <v Willie Grimes>and told her that about the grant and <v Willie Grimes>just checked on the possibilities, what she thought about students having an opportunity <v Willie Grimes>to work on an outdoor piece of sculpture. <v Willie Grimes>And her opinions, things of this nature. <v Willie Grimes>And she really she liked it. <v Willie Grimes>And she became one of the best supporters of it that I've had.
<v Willie Grimes>So from that moment on, we've been going full force <v Willie Grimes>with getting it to the stage. You've seen it now. <v Carrie Winter>It took a tremendous amount of cooperation. <v Carrie Winter>First of all, we were delighted that Spring Fest had <v Carrie Winter>made the award. And then we were particularly delighted that the artist <v Carrie Winter>chose the school system as the recipient of the award. <v Carrie Winter>Took a lot of meetings back and forth between the Arts Commission, <v Carrie Winter>the school system, to really settle <v Carrie Winter>into the project. And then once the project began to be implemented, the <v Carrie Winter>artist was just tremendous in bringing about all sorts <v Carrie Winter>of support and developing the apprenticed role for the students <v Carrie Winter>to participate effectively. <v Carrie Winter>-and all the companies coming in and helping out to make sure this hang about <v Carrie Winter>this thing has really grown into a huge community process. <v narrator>The sculpture is almost complete now and really is working to finish it within the next
<v narrator>few months. But the last two years have been busy ones, with much of her time <v narrator>spent drumming up support for the project. <v Willie Grimes>Well, my grant, just to kind of keep me in playing the game <v Willie Grimes>was four thousand dollars and that for a large piece of sculpture is- <v Willie Grimes>is nothing and everything else, everything <v Willie Grimes>else you see was donations. <v Willie Grimes>But all along the way, you know, people have supported it. <v Willie Grimes>I mean, I would go into a steel fabrication plant with <v Willie Grimes>my little model of the piece of sculpture and <v Willie Grimes>ask to speak with the president. Well, just so happened, the president was coming in. <v Willie Grimes>And before I could say anything, he was commenting on the model <v Willie Grimes>and how much he liked it. <v Willie Grimes>And at that point, I'm going, would you be willing to help support, you know, to get it <v Willie Grimes>up? Great. You know, he just. <v Willie Grimes>Anything I can do. And they liked the idea.
<v Willie Grimes>They really this community really liked the idea that students were going to get a hands <v Willie Grimes>on experience with it. <v Willie Grimes>And that has just created a lot of extra support in it. <v Willie Grimes>I would go to Chemist and they would do anything they could to see <v Willie Grimes>it come about, one president of a tile company. <v Willie Grimes>I took the drawing and the first McCants cast him and I sat down where they take <v Willie Grimes>time to sit down. And we went through materials we would need and how much <v Willie Grimes>and everything else imaginable. <v Willie Grimes>And that kind of support is is real important. <v Willie Grimes>It's just especially when you're on a shoestring budget <v Willie Grimes>that has made it the energy stay high energy situation. <v Willie Grimes>Stay up there, too, over the two years. <v Willie Grimes>Carry it through. And you need that over two years stretch. <v Willie Grimes>You really you need that energy. <v narrator>In a project as complex as this sculpture, the artist must literally wear many hats.
<v narrator>Shaping the clay and guiding the junior high students is only a small part of the puzzle. <v narrator>Here at Southern Engineering Company, which donated the steel willy checks on the <v narrator>progress of the frame construction. <v narrator>Designed by architecture students at U.N.CC with labor costs donated <v narrator>by the Charlotte chapter of the American Welding Society. <v Wallace Kerr>Most, of what, man, most of the projects we have going through, southern engineering, <v Wallace Kerr>we don't, uh we measure it in tons, <v Wallace Kerr>2000 ton, 300 ton. <v Wallace Kerr>[inaudible]. And we got a project that's this small. <v Wallace Kerr>And now we've got probably three of our best people working on this project. <v Wallace Kerr>One of them, in fact, worked on the steel frame skylight for the MIT museum. <v Wallace Kerr>So we've got a lot of good quality and got quite a good craftsmanship going into this <v Wallace Kerr>project.
<v narrator>While the steel was being welded at Southern Engineering, the Charlotte Mecklenburg <v narrator>Schools Maintenance Department was readying the site at the Metro Center. <v narrator>With equipment donated by Lincoln Electric and national welders, company representatives <v narrator>helped UNCC students ready the steel frame for its final assembly. <v Willie Grimes>This will take about 18 pounds of clay, <v Willie Grimes>probably for that one section. <v narrator>Meanwhile, at McClintock, Kennedy and 13 other schools. <v narrator>The job of creating the clay tiles continued. <v student>It Looks like it's getting a bit too small. <v student>I think that's-. <v Willie Grimes>Five A right? Does that mean that there's a five B we've got to match it up to? <v Willie Grimes>Is there a five B over there? <v Willie Grimes>At this stage. We have now finished all the handmade clay tiles for this <v Willie Grimes>one segment of the outdoor piece of sculpture. <v Willie Grimes>But what most people looking at this would not understand here.
<v Willie Grimes>How does she put it up? How is she going to put it up? <v Willie Grimes>It almost looks it'd have be glued up because there's no there's not a division in <v Willie Grimes>between from one tile to another. <v Willie Grimes>And when I tell them I'm gonna cement it up, they're going, where's the grout going? <v Willie Grimes>You always have to have, you know, a brick and everything else has to have grout line. <v Willie Grimes>This clay shrinks more than a quarter of an inch. <v Willie Grimes>So instead of patterning, making a pattern for a grout lie, <v Willie Grimes>the shrinking of the clay becomes my grout line. <v Willie Grimes>That takes care of it. And that also makes it pretty even. <v Willie Grimes>So right here at the clay goes together perfectly here. <v Willie Grimes>But at the same time, when I go to put it up, I will have a perfect grout line <v Willie Grimes>just due to the shrinkage of the clay. <v Willie Grimes>At this point, we'll let it dry here. <v Willie Grimes>I have students working at finishing up this day job. <v Willie Grimes>You can see all the empty pieces here. <v Willie Grimes>We're finishing up this stage of it today. <v Willie Grimes>We let it dry. This fire it. <v Willie Grimes>Bring it back. Glaze it. <v Willie Grimes>Then I box it all up and start putting it up. <v Willie Grimes>It sounds, that sounds simple. That is three minutes of simplicity.
<v Willie Grimes>That is almost a lie. <v Willie Grimes>So you're gonna need to take your hands and just bunch it back up, square <v Willie Grimes>it back up a little bit and then your rolling pin is gonna go this way. <v Willie Grimes>Even when you do that, you've got to roll it a couple of times this way. <v Willie Grimes>Flip it back over so that you don't have a false edge coming out here just on one side. <v Willie Grimes>So your edges will stay nice and flat and even. <v student>Well, I just I'm glad that we're able to do it because it just gives <v student>me a chance to have some of my work displayed for the whole community's <v student>enjoyment. It's going to be really neat to have your own work in downtown Charlotte. <v student>I'm just really anxious to see what it's going to look like. <v student>All together with all the other junior high schools and everything, because right now it <v student>just looks like a bunch of mud put together. <v student>But I'm just anxious to see what it's going to look like whenever we get it up there. <v Willie Grimes>And don't cut down all at one time was just cutting down all at one time. <v Willie Grimes>Pulls that clay. <v student>Okay. <v Willie Grimes>Get's it all out of wack. <v student>It's it's you know, it's going to be nice to be able to drive around and
<v student>it's like, just point to your friends and point it out to everybody and say, I did <v student>that piece or I helped build that. <v student>So it's going to be it's gonna be nice. <v student>Well, what's special about it is that, you know, you'll know what it looked like before <v student>it's put up, and you'll know exactly, I mean, you know how long <v student>it took you to mold it out and everything. <v student>You know, nobody else will know that, and they probably won't be imagine it being on the <v student>ground and everything. So, you know, it just gives you <v student>a feeling about it. It makes you makes you feel good that you're part of it. <v Willie Grimes>I love working with students. I really enjoy <v Willie Grimes>communicating with them. I enjoy their interest. <v Willie Grimes>I like being able to improve <v Willie Grimes>their tomorrows, hopefully to give them a vision <v Willie Grimes>and- a hope that they can carry out something
<v Willie Grimes>that's important, that other people- and it doesn't matter if other people like it or <v Willie Grimes>not. But as long as they know they can do something, number one <v Willie Grimes>and they can complete it and carry it out through the whole process <v Willie Grimes>is important. <v student>It takes a lot of throwing the thing around and shaping it just so it's wide <v student>enough and thick enough and then just cutting it out. <v Willie Grimes>The underneath side. It has to be it's just as even as the top side of it. <v student>She's great because we've learned so much with, you know, just <v student>techniques and things like how to <v student>how to make sure, you know, it's thick enough and to get the air bubbles out. <v Willie Grimes>I was able to hear and understand a lot of what was going on, the junior <v Willie Grimes>high school mines, a lot of the gossip going. <v Willie Grimes>I was really interesting. <v Willie Grimes>I heard a lot about music and the ins and outs to being <v Willie Grimes>a junior high school student that I've not had an opportunity in a long time to
<v Willie Grimes>deal with both pro and con with it, but <v Willie Grimes>they have a lot of energy. That's one reason I directed it. <v Willie Grimes>I chose the junior high school level. <v Willie Grimes>They still have a lot of energy. And anyone that has energy has- is <v Willie Grimes>good to work with Clay. <v Willie Grimes>And I brought out the clay and it has to be pounded and worked up so that <v Willie Grimes>there's no air in it. <v Willie Grimes>Well, when I told them that they have to to smash the clay down on the floor <v Willie Grimes>and I wanted them to be angry about it. <v Willie Grimes>You know, some of them would just drop it. <v Willie Grimes>No, I don't go. No, no. I really you can now take it out on the clay. <v Willie Grimes>And I would tell them to think about some situation in school or someone <v Willie Grimes>and just take all of that aggression, everything and put it <v Willie Grimes>into the clay. And then you would hear the bam, bam, bam. <v Willie Grimes>And then every other student would think about something. <v Willie Grimes>Oh, can I have a chance? Bam, bam.
<v Willie Grimes>It was great for the clay. <v Willie Grimes>Go ahead. That's got to come off at this stage of the game. <v Willie Grimes>We're trying to level up these tiles, trying to make it so that the <v Willie Grimes>base will be easier for the stonemason yourself to submit these <v Willie Grimes>things up if they're a little more level. <v Willie Grimes>Some tiles just all depend on what time of day you make them. <v Willie Grimes>The drying, the temperature, the weather, they bevel on you a little bit <v Willie Grimes>different directions, you know, where the water is being forced out. <v Willie Grimes>So that's what I'm showing them, what to look for. <v Willie Grimes>And it makes for a much better glazing. <v Willie Grimes>We can go ahead fire it at this station and I can make a decision. <v Willie Grimes>You need to level that off a little bit. <v student>It's different. <v student>It's not like the regular art stuff. <v student>I just- I think it's neat having something up in town, you know, that I've worked on, <v student>helped work on, you know? <v different student> I put the glaze on these right here, small pieces. <v different student>And paint them halfway down. <v different student>I paint like Barry said, half of these. You have to paint the sides of them, right
<v different student>here and the sides and you can't go down because then it won't stick to the surface <v different student>it's been put on. <v different student>And in the background of <v different student>the trees, because like- I'm outlining, I'm <v different student>also outlining the pattern to make everything <v different student>look right. <v Willie Grimes>Together. <v student>This guy's from here. <v Willie Grimes>Right background here and here. <v Willie Grimes>You're on one inch. She's in the middle. <v Willie Grimes>I'm in the middle. You're in the middle. She's on one hand. <v Willie Grimes>And you're on the other. <v student>She's on the right. He's on the left. <v Willie Grimes>Any time. Well, it is as hard to describe, but any time you try to <v Willie Grimes>put something large together, by piecemealing it, <v Willie Grimes>you have gaps in there that can cause problems. <v Willie Grimes>And it's just something you have to accept and work through. <v Willie Grimes>Kilns not working. <v Willie Grimes>Not operating when you need them to.
<v Speaker>[music plays] <v Willie Grimes>And then the stonemason and his assistant and I started putting the puzzle <v Willie Grimes>together under the trees out from the steel structure at that point. <v Willie Grimes>And we would put the puzzle together on the ground to measure our <v Willie Grimes>mortar spaces and everything in there. <v Willie Grimes>And then we would eyeball it. The drawing was then on the concrete pad. <v Willie Grimes>If we accepted the concrete pads dimensions at that point, what with <v Willie Grimes>the shrinkage of the clay. There's all kinds of things that come into play. <v Willie Grimes>This clay shrinks a little over a quarter of an inch, which is is a fair <v Willie Grimes>amount for Grodd Clay. <v Willie Grimes>All of that had to be calculated and worked with. <v Willie Grimes>So the last calculations were done by the three of us. <v Willie Grimes>And looking at it, eyeballing it, and then cementing it up to the concrete pads that
<v Willie Grimes>we put over the steel structure. <v Willie Grimes>There. <v Geoffrey Edwards>Ok, I Was gonna do that one next. <v Geoffrey Edwards>Um, and I guess [inaudible]. <v Willie Grimes>The small front piece that will bring that out. <v Willie Grimes>Kennedy's over there. The rest of that. <v Geoffrey Edwards>Yeah, they got to let that set up. <v Willie Grimes>Alright, That's what we'll be doing. <v Geoffrey Edwards>Setting out the sizes of the tile is probably slightly different <v Geoffrey Edwards>than was anticipated. So we're having to reset out <v Geoffrey Edwards>all the tile again and probably put in spacer pieces or redesign each <v Geoffrey Edwards>section to fit the dimensions because Willie Grimes only had <v Geoffrey Edwards>some rough dimensions and they're not working out exactly <v Geoffrey Edwards>as the finished product is. <v Geoffrey Edwards>No I enjoy it, I would enjoy it. <v Geoffrey Edwards>This is something different, I mean. <v Geoffrey Edwards>Ever since I've been with Miller tile I've always been doing something out of the
<v Geoffrey Edwards>ordinary anyway, so, which is nice in one way. <v Geoffrey Edwards>There's nothing boring about working with tiles. <v Geoffrey Edwards>You know, there's been tile, there's been handmade tile, there's been marble. <v Geoffrey Edwards>So, you know, this is just another challenge and, you know, I thoroughly enjoy it. <v Geoffrey Edwards>You know, you see a wonder bold structure and you go away and you got a tall sculpture <v Geoffrey Edwards>when you finish. It's very satisfying. <v Willie Grimes>This is so different from a few weeks ago even. <v Willie Grimes>If you had talked to me a few weeks ago, I was in a low. <v Willie Grimes>And I think this is something that, you know, artists know but <v Willie Grimes>other people don't know that right before the big finale of <v Willie Grimes>an artwork. I think you go into a real low slump kind of <v Willie Grimes>phase of it. And that was that was made two weeks ago. <v Willie Grimes>I was things I didn't know if I was gonna be able <v Willie Grimes>to meet my schedule and how things were going to finally materialize.
<v Willie Grimes>If everyone, you know, after everyone's promised all this and <v Willie Grimes>if everything was gonna click together, you know, it's that grand finale in which the <v Willie Grimes>symphony is going. It's got to go on and everybody has to perform. <v Willie Grimes>And one thing has to follow another. <v Willie Grimes>So you have to in order for the finale to finish, everyone has to be in step. <v Willie Grimes>You know, at some point and I wasn't in- two weeks ago I wasn't at all certaint it was <v Willie Grimes>going to happen. But it is. <v Willie Grimes>And, you know, this it's all going to be on schedule. <v Willie Grimes>And things are happening now. <v Willie Grimes>This is just visualizing it. <v Willie Grimes>It feels good. That fact that I'm visualizing the way the actual piece is, the <v Willie Grimes>way that it was in my head. <v Willie Grimes>There have been no great surprises to come about because I've <v Willie Grimes>seen exactly what you're seeing. <v Willie Grimes>Two years ago in my brain. <v Willie Grimes>And it's the way I wanted it to be. And that's nice. <v Willie Grimes>You know, sometimes in the last go around, it's not quite what you thought it <v Willie Grimes>should be. But this is and this is coming around.
<v Willie Grimes>It's a lot of good energy. A lot of students, I think, are going to be extremely, <v Willie Grimes>extremely excited. <v Speaker>[hammering] <v Willie Grimes>Mother Nature is going to be a tough one on it, because <v Willie Grimes>I'm using materials that are that are part of her. <v Willie Grimes>I'm using part of the earth. <v Willie Grimes>The stone things of this nature. <v Willie Grimes>And she takes back her children, so to speak. <v Willie Grimes>She takes them back at some point. <v Willie Grimes>So especially in this area, the freezing and the thawing <v Willie Grimes>process will be the sculptor's worst enemy. <v Willie Grimes>I try to design things so that you see things and you can enjoy <v Willie Grimes>something at a distance, but the closer you get to it, there's always something <v Willie Grimes>additional that you can't see at a distance to enjoy. <v Willie Grimes>And I think that's part of what... <v Willie Grimes>Makes great artworks. Is the fact that you never get tired of it. <v Willie Grimes>There's always something there. If you come back, you can look at a great piece of work,
<v Willie Grimes>of art. And you always seem to find something you've never seen before. <v Willie Grimes>I kind of directed the design and I guess a good way <v Willie Grimes>of approaching how it came about. <v Willie Grimes>Is it. Here's how I'd describe it to the students, too. <v Willie Grimes>If you were standing in Greece on top of a hill and <v Willie Grimes>you have the Mediterranean Sea down below you. <v Willie Grimes>If you were to cut straight down that hill, there is a good possibility <v Willie Grimes>you will find going straight down. <v Willie Grimes>All kinds of civilizations that lived before you right underneath your feet. <v Willie Grimes>And is that some of that archeological process that I <v Willie Grimes>wanted to show. <v Willie Grimes>But I'm pulling it up or carving it out, whichever method. <v Willie Grimes>And either the additive method or the subtractive method to it that I <v Willie Grimes>want to express. I want to show some of those le- levels. <v Willie Grimes>And it worked real well because I had different schools doing different sections of it.
<v Willie Grimes>So they got to a a chance to approach their own interest at <v Willie Grimes>various points. We were able to do a whole series of hits. <v Willie Grimes>Over at Wilson junior high school. Now, if you look closely, some have the ponytails <v Willie Grimes>to the sides. And I mean, you know, 30 years ago, you'd never seen a ponytail <v Willie Grimes>to the side. The ponytail was only to the back. <v Willie Grimes>That's a little bit of what's going on now. <v Willie Grimes>People will be able to look at it in years to come and see a little bit of what students <v Willie Grimes>were thinking about, and what was of interest. <v Willie Grimes>Some of the faces are definitely junior high school faces, things that they're drawing <v Willie Grimes>and working with in their classroom situations. <v Willie Grimes>Now, they might not have been doing that in 1910. <v Willie Grimes>They might not be doing it in the year 2000. <v Willie Grimes>But they're doing it now. <v Speaker>[music starts playing] <v Carrie Winter>I like for them to think of the content of the sculptures,
Shaping New Dimensions
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WTVI (Television station : Charlotte, N.C.)
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The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia (Athens, Georgia)
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"Willie Grimes was the artist-in-residence for two years with the Charlotte-Mecklenburg school system. She conceived and completed a massive sculpture utilizing the talents of over one thousand junior high school students during her residency. The sculpture is composed of two monoliths one eighteen feet and one twenty-three feet high, and is covered with concrete, stone, and over 700 Glazed tiles sculpted by the young students. 'Most students have never had the opportunity to work at anything above eye level -- most have never worked with anything bigger than what they can hold in their hand.' This sculpture represents that they can do far more. 'Shaping New Dimensions' documents this monumental effort, the results of which now stand in front of Charlotte's Metro center, a school for mentally retarded kids. The program deserves consideration because it is a testimonial to the creative energy waiting to be tapped in out young people, as well as documenting the creative process in completing this work."--1987 Peabody Awards entry form.
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Producing Organization: WTVI (Television station : Charlotte, N.C.)
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The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia
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Duration: 0:28:30
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Chicago: “Shaping New Dimensions,” 1987-09-23, The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed June 26, 2022,
MLA: “Shaping New Dimensions.” 1987-09-23. The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. June 26, 2022. <>.
APA: Shaping New Dimensions. Boston, MA: The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from