02/02/2011 | 27m 49s | Video has closed captioning.
You’ve seen his work all across the Southland. Meet Dennis O’Conner master mosaic artist, who has created some of the largest and most amazing mosaics in America.
Aired: 02/02/11
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VISITING WITH HUELL HOWSER IS MADE POSSIBLE THROUGH A GENEROUS GRANT FROM THE RALPH M PARSON'S FOUNDATION.
>> Huell: HELLO EVEREçYBODY I'M HUELL HOWSER, AND HERE WE ARE ON THIS BRISK BUT BEAUTIFUL MORNING.
HIGH UP IN THE MOUNTAINS, IN THE LITTLE COMMUNITY IN ANZA.
DWEEN HEMET AND TEMECULA AND PALM SPRINGS.
AND WE'RE HERE TO SPEND THE MORNING WITH ONE OF THE LEGENDARY ARTIST OF CALIFORNIA.
NOW YOU MAY NOT KNOW HIS NAME, BUT I GUARANTEE YOU HAVE SEEN HIS WORK.
AND THIS IS WHERE HE DOES HIS WORK.
UP HERE IN VIRTUAL ISOLATION UP HERE IN THIS LITTLE, AHHH, IT'S A TRAILER THAT'S BEEN BUILT ON.
THIS IS HIS WORKSHOP UP HERE.
HE HAS INVITED US THIS MORNING TO SEE HIS MOSAIC ARTISTRY.
GOOD MORNING.
>> GOOD MORNING, HUELL.
>> THANK YOU FOR INVITING US TO SPEND THE DAY WITH YOU.
I'M JUST GLAD TO BE INSIDE.
>> SO AM I.
>> Huell: WE'VE GOT THIN BLOOD, WE'RE FROM DOWN IN THE VALLEY.
IT'S COLD OUT HERE.
>> IT SURE IS 29° OUT THIS MORNING.
>> Huell: ABSOLUTELY.
I THINK THIS SHOULD INTRODUCE YOU TO EVERYONE.
THIS IS DENNIS O'CONNOR AND YOU'RE KNOWN FOR HIR FAMOUS MOSAIC WORK AND THE WORK THAT MOST PEOPLE WOULD HAVE SEEN, ARE?
>> HOME SAVINGS.
>> Huell: YOU DID MOST OF THE WORK THAT'S OUTSIDE THE BRANCHES OUTSIDE OF CALIFORNIA.
>> YES, THAT'S TRUE MOST OF THEM FROM ABOUT 1960.
>> Huell: HOW DID THAT ASSOCIATION GET STARTED?
>> WELL I CAME OVER FROM ENGLAND IN 1959.
AND I WAS LOOKING FOR WORK, AND I'M AN ARTIST, I TAUGHT IN ENGLAND.
AND I HAD A SHOW IN SCRIPPS COLLEGE, I WAS A SCULPTURE AND THEY DID A STUDIO AND DID MOSAIC.
>> Huell: AND IS A WORLD FAMOUS ARTIST.
>> YES, WORLD FAMOUS.
ONE OF HIS ASSISTANTS DID MY WORK AND THEY WANTED ME TO WORK THERE.
SO I STARTED WORKING IN MOSAIC IN 1960.
>> Huell: WITH MILLARD SHEES.
>> YES.
>> Huell: YOU'VE GOT SOME EXAMPLES OF YOUR WORK THROUGHOUT, UM, SOUTHERN CALIFORNIA.
AT THE VARIOUS HOME SAVINGS BRANCHES.
THESE ARE AMAZING PIECES THAT MUST HAVE TAKEN -- WHERE WAS THIS ONE RIGHT HERE?
>> THIS ONE WAS IN DOWNY HOME SAVINGS AND IT HAS TO DO WITH THE SPACE AND INDUSTRY IN DOWNY.
>> Huell: THIS COVER THE WHOLE FRONT OR SIDE OR, YOU KNOW, OF BANK BUILDINGS.
>> YEAH, THEY WOULD GENERALLY RIGHT ABOVE THE ENTRANCE.
AND YOU KNOW, I'VE SEEN FOR A WHILE, I MEAN IN THE '60s, THE BRAFRNG -- BANK BUILDINGS BECAUSE VERY VERY ORNATE WITH MOSAIC.
A LOT PUT THEM LIKE TEMPLE.
>> Huell: AND EVEN THOUGH HOME SAVINGS IS STILL NOT IN EXISTENCE AND THIS WORK WILL LIVE ON FOR A MRONG PERIOD OF TIME.
>> YES, YES, THAT'S TRUE.
YEAH, YOU KNOW THERE ARE A MANY IN CALIFORNIA.
AND I ALSO DID IN OTHER PARTS OF THE COUNTRY.
WHERE HOME SAVINGS HAVE ANOTHER NAME WHERE IT WAS JUST SAVINGS OF AMERICA.
>> Huell: HOW MANY OF THESE DO YOU FIGURE YOU HAVE DONE?
>> DO YOU MEAN HOME SAVINGS OR ALL OF MY STUFF.
>> Huell: WELL ALL OF YOUR STUFF?
>> WELL PROBABLY ABOUT 100 HOME SAVINGS AT LEAST.
>> Huell: WOW.
>> AND MAYBE ANOTHER 50 -- I DON'T KNOW I HAVE NOT COUNTED THEM MURALS FOR THE OTHER PEOPLE AND OTHER CORPORATIONS.
>> Huell: AND THEY'RE ALWAYS BIG!
AND THAT'S WHERE THE DIFFICULTY COMES IN DOESN'T IT?
>> YEAH, YEAH,Eç YEAH.
PARTICULARLY THIS ONE THAT I HAVE IN HERE.
THIS IS BIGGER THAN MOST THINGS I'VE DONE.
>> Huell: THERE IS A MOCK UP OF IT, THAT'S JUST A COUPLE OF PEOPLE WIDE AND COUPLE OF FEET TALL, BUT THAT IS JUST OBVIOUSLY A SCALE.
>> YEAH, THAT'S A SCALE.
>> Huell: HOW BIG IS THIS THING GOING TO BE?
>> WELL I THINK IT'S ALMOST 23 FEET WIDE FROM SIDE TO SIDE AND THEN TO THE TOP OF THE ARCH IS 15 FEET.
>> Huell: WOW.
>> SO IT'S A PRETTY MASSIVE THING.
IT'S MUCH BIGGER THAN ANY STUDIO THAT I HAVE.
>> Huell: AND THIS IS WHAT YOU'RE DOING HERE.
WHERE IS THIS IN RELATION TO THIS?
>> THIS AREA HERE, IS UM, LET ME SEE, IT'S IN THIS COMING THROUGH THIS AREA HERE.
NOW EVERYTHING I DO, REMEMBER, IS IN REVERSE BECAUSE THIS IS THE BACK OF THE MOSAIC, THIS IS NOT THE FRONT.
THIS THIS GOES INTO CEMENT, IT'S GROUTED ON THE BACK, IT'S BACK GROUTED.
AND IT'S TURNED OVER, IT'S.
>> Huell: BE CAREFUL.
>> LET ME SEE WHERE THERE IS A GOOD SHEET.
COUTED IN THE BACK AND SET IN CEMENT AND PUT IN THIS WAY.
NOW THIS IS --.
>> Huell: YOU HAVE TO TAKE THE PAPER OFF.
>> THIS IS THE FACE OF THE MOSAIC AND THIS WILL BE SOAKED AND THE TABLE WILL BE REMOVED.
>> Huell: NOW YOU DROPPED TWO PIECES.
>> THAT'S PART OF THE COURSE.
>> Huell: PUT THEM BACK WHERE THEY CAME FROM, I DON'T WANT TO.
>> OOPS.
>> Huell: SO YOU'RE JUST PUTTING KIND OF GLUE.
>> YEAH, THIS IS RYE FLOWER GLUE.
>> Huell: LOOK AT ALL OF THE TILE HERE.
THIS TILE IN ITSELF IS A STORY.
ALL OF THESE COLORS AND THIS COMES FROM?
>> THIS STUFF THAT I'M USING HERE COMES FROM ITALY.
MOST OF MY STUFF COMES FROM ITALY.
>> Huell: AND YOU GET IT IN THESE LITTLE PIECES BUT THEN YOU HAVE TO -- LOOK AT THIS TROY, YOU HAVE TO CUT ALL OF THESE PIECES.
>> YEAH A COMPLEX AREAS I DO A LOT OF CUTTING.
AND ALSO TO GET THE FLOW OF THE MOSAIC THE WAY I WANT IT LIKE HERE.
WHERE I'M ACCENTUñrATING.
>> Huell: YOU'VE BEEN DOING THIS FOR SO MANY YEARS, DO YOU EVER GET LOST.
>> DO YOU WANT THE TRUTH?
>> Huell: YEAH.
>> YES I'VE BEEN LOST IN THIS MURAL A COUPLE OF TIMES, I'M WORKING IN REVERSE, AND I'M LOOKING AT THIS.
WELL ACTUALLY THAT'S THE SAME AS THAT ONE THERE --.
>> Huell: THIS IS THE BLOWUP OF PART OF THE MURAL.
>> NAZEç -- THAT'S A BLOWUP.
>> Huell: RIGHT DOWN TO THERE.
LET ME SEE THAT AGAIN.
RIGHT HERE --.
>> >> FROM HERE DOWN TO HERE.
THAT'S A BLOWUP.
>> Huell: SO THIS IS A BLOWUP OF THAT AND WHAT'S INTERESTING HERE, IS ALL OF THE THE GRADATIONS OF COLOR HERE.
IT WOULD BE SO HARD BECAUSE THEY ACTUALLY KIND OF SWEEP-BLEND, THERE IS NOT A QUICK CHANGE.
>> YOU SEE THAT WAS DONE WITH CHALK OF PASTEL AND YOU CAN RUB IT, BLEND IT VERY EASILY.
THIS IS REAL HARD SQUARES OF GLASS.
>> Huell: YEAH.
>> AND BLENDING IS SOMETHING ELSE.
YOU'VE GOT TO REMEMBER ON THESE, WHEN YOU LOOK AT THEM.
THEY'RE GENERALLY SEEN FROM 20-30 FEET AWAY.
AND ALL OF THIS WILL FUSE IN AND DO ITS THING.
>> Huell: HOW MANY PEOPLE ARE DOING THIS KIND OF WORK TODAY?
>> WELL IT'S BEEN KIND OF A RENE IN MOSAIC, A LOT MORE PEOPLE DOING IT.
BUT NOT MANY DOING THIS KIND OF PRESENTATIONAL.
ALL OF THE MOSAIC USED TO BE DONE IN ITALY UNTIL THE MID-'60s.
VERY FEW PEOPLE IN THE STATES THAT CAN DO THIS.
>> Huell: AND HOW FAMOUS IS THE HOME SAVINGS ALL OVER THE WORLD.
IT'S KNOWN OF SOME GREAT EXAMPLES OF MOSAIC WORK.
>> WELL, YEAH YEAH.
IT STARTED OUT IN CALIFORNIA.
AND NOW THERE ARE MORE I DID STUFF IN FLORIDA, CHICAGO ALL OVER THE PLACE ON THE EAST.
>> Huell: BUT IT STARTED HERE.
>> BUT IT STARTED HERE.
AND IT WAS NOT UNTIL 1984 THAT THEY EVER DID ANYTHING OUTSIDE OF CALIFORNIA.
>> Huell: REALLY.
>> SO ALL OF MY WORK FOR THE FIRST 24-25 WORK WAS ALL CALIFORNIAN WORK.
YEAH-YEAH.
>> Huell: WE'RE GOING FROM STUDIO ONE TO STUDIO B.
MY NEXT QUESTION WHY IN THE WORLD -- HOW DID YOU GET UP HERE TO DO YOUR WORK?
WHY ENSA?
>> WELL IN 1989, I WAS DOING A LOT OF WORK AND I NEEDED SOME KIND OF A RETREAT FROM THE CITY AND MY WORK.
AND I CAME DOWN HERE AND I LIKE THE DESERT, I'M INTO CACTUS, I'M A GREAT CACTUS COLLECTOR.
AND THIS FIT THE BILL.
A LOT OF ENGLISH PEOPLE, LOVE THE DESERT.
THERE IS NOTHING LIKE IT BACK THERE.
AND THERE IS A FASCINATION WITH IT.
>> Huell: AND YOU CAN CONCENTRATE.
>> YES, AND I CAN BUILD SOME STUDIO WHICH I COULD NOT IN THE CITY.
SMOG FREE, BEAUTIFUL SCENERY.
>> Huell: THIS IS WHAT YOU LOOK AT OUT YOUR FRONT YARD, EVERY MORNING.
IF THIS DOES NOT INSPIRE YOU, I DON'T KNOW WHAT DOES.
>> OH YEAH, IT'S BEAUTIFUL.
YEAH.
I'M REALLY HAPPY IN THIS PLACE.
YOU KNOW, IT'S BEEN PRETTY ISOLATED ON THIS JOB, BUT I CAN FOCUS DOWN HERE WHERE I COULDN'T IN THE CITY.
ALWAYS PEOPLE DROPPING IN AND STUFF LIKE THAT.
>> Huell: AND YOU'VE GOT YOUR GUARD DOGS HERE.
>> MY FRIENDS, YES.
>> Huell: AND WHEN YOU TALK ABOUT BUILDING YOUR STUDIOS.
HERE'S YOUR OTHER STUDIO RIGHT HERE.
WHICH LOOKS LIKE VERY MUCH LIKE A GARAGE.
>> YES, WELL IT IS, I BUILT THIS A YEAR AGO OR MORE AFTER I TOOK THIS JOB ON.
AND I WAS NOT EVEN THINKING ABOUT IT.
BUT IT'S THE ONLY PLACE I CAN LAY THE WHOLE MOSAIC IN AND IT'S HOTTER THAN HECK IN THE SUMMER AND COLDER THAN HECK IN THE WINTER.
>> Huell: AND YOU'RE CAR HAS NOT BEEN IN SINCE.
>> MY CAR IS GETTING FULL OF MUCK AND DIRT.
>> Huell: WHEN WE GO INSIDE, IT WILL BE WORTH IT.
IFç YOU THOUGHT ANOTHER MOSAIC WAS GREAT.
WAIT 'TIL YOU SEE WHAT'S IN-STUDIO TWO.
IT IS COLD.
WE'RE INSIDE STUDIO NUMBER 2 OTHERWISE KNOWN AS THE GARAGE.
AND LOOK AT WHAT WE HAVE HERE.
NOW THIS IS REALLY THE PAYOFF RIGHT HERE DENNIS.
HOW LONG DID IT TAKE YOU TO PUT TOGETHER SOMETHING LIKE THIS?
>> WELL I'VE BEEN WORKING ON THIS PROJECT FOR OVER TWO YEARS NOW.
AND I SHOULD BE FINISHED IN A COUPLE OF WEEKS.
BUT IT'S TAKEN AN AWFUL LONG TIME.
THE SIZE OF IT HAS BEEN A PROBLEM BECAUSE I'VE HAD TO DO IT IN PIECES IN VARIOUS STUDIOS.
>> Huell: NOW WHAT IS THIS OVER HERE?
WHAT HAVE YOU GOT HERE IN THE MIDDLE?
>> OH OKAY --.
>> Huell: WAIT A MINUTE YOU'RE WAUFKING ON IT.
>> ONLY I CAN DO THAT.
>> Huell: OH MY GOSH.
>> ANYWAY THIS WAS TO SHOW YOU, I THINK I TOLD YOU BEFORE I WORK IN REVERSE AND THIS IS THE BACK OF THE MOSAIC IT'S NOT THE FRONT.
THE FRONT IS UNDERNEATH THIS PAPER AND WHEN IT'S SET.
THE MOSAIC IS PERFECTLY FLAT.
THESE ARE BEVLED.
>> Huell: SO YOU REVERSED THAT.
>> AND IN HERE, THIS IS GOLD, GOLDEN HALO.
>> Huell: ARE THESE GOLD MOSAIC.
>> 24 CARAT GOLD.
>> Huell: SO YOU'RE PUTTING IN THAT LAST.
>> ANYWAY, THIS IS THE BACK OF THE MOSAIC.
BUT YOU KNOW, THE COLOR WILL BE THIS.
IT'S NOT CERTAINLY A DARK SURROUNDING THE HEAD.
IT WILL BE GOLD WHICH IS A TRADITIONAL ITALIAN THING.
THEY USE GOLD BECAUSE THEY FIGURE IT WILL GIVE THAT BRILLIANT LIGHT.
>> Huell: I CAN'T BELIEVE YOU CAN STAND ON THIS.
>> YES.
>> Huell: IT'S GLASS ISN'T IT?
>> IT'S GLASS BUT IT'S GLUED DOWN, I WALK VERY LIGHTLY.
WHEN I MOVE AND BOX THIS UP.
SOME OF THEM WILL GET LOSE ON THE TRIP TO BALBOA ISLAND.
>> Huell: WHICH IS SOMETHING THAT WE HAVE NOT DISCUSSED.
YOU'RE GOING TO DISS ASSEMBLE AND BOX IT UP AND MOVE IT TO NEW PORT WHERE YOU'LL REASSEMBLE IT.
>> YES, AND THEN WE PUT PLACE, THEY MEASURE IT AND THEY'LL START FROM THE BOTTOM.
>> Huell: NOW ONCE AGAIN, YOU HAVE ARTIST RENDERING OF WHAT THAT IS GOING TO LOOK LIKE WHEN IT'S FINISHED.
AND RIGHT OVER HERE, YOU'RE GOING TO SHOW US HOW YOU PUT SOME OF THIS DOWN.
>> YEAH.
>> Huell: THIS IS KIND OF LIKE A JIGSAW PUZZLE.
YOU DO IT IN SEGMENTS.
I'M AFRAID TO TOUCH ANYTHING.
YOU'VE GOT THEM NUMBERED.
WHERE DOES THIS GO?
DO YOU KNOW?
>> YEAH, EVERY PIECE IS DIFFERENT AND THAT'S PART OF THE DESIGN PROCESS, MY PIECES YOU KNOW HAVE THE SHAPE HAS A LIFE OF ITS OWN.
>> Huell: HERE'S NUMBER 42.
OH BOY --.
>> THAT ONE WILL GO IN HERE.
I'M GOING TO LEAVE THE TAGS STICKING UP.
THE TAGS ARE THERE FOR THE INSTALLERS.
>> Huell: LOOK YOU LOST A PIECE AGAIN.
>> YEAH, WELL I'LL JUST PUT IT NEAR WHERE IT CAME OFF.
THERE WE GO.
>> Huell: OKAY.
NUMBER 62.
>> YEAH, THERE IS ANOTHER ONE GOING.
>> Huell: BOY!
YOU KNOW YOU'RE ABOUT TO FILL UP THE GARAGE.
>> I'M WORRIED THAT DOES NOT GO THERE.
>> Huell: IT IS LIKE A JIGSAW PUZZLE.
>> YEAH.
>> Huell: WOW.
WELL, IT IS ABSOLUTELY A MAIGZ TO WATCH ONE OF THESE THINGS BEING PUT TOGETHER.
LET'S STAND OVER HERE ON THE OTHER SIDE OF IT.
I DON'T THINK MOST PEOPLE HAVE Aç CLUE HOW THESE THINGS ARE DONE, DO YOU?
>> WELL NO THEY DON'T.
YEAH, I MEAN THIS IS A LOT OF PEOPLE THINK, GU UP ON A BUILDING AND YOU PUT THEM IN PIECE BY PIECE.
I MEAN IT WOULD TAKE A TREMENDOUS AMOUNT OF TIME.
AND THIS IS CALLED -- THIS IS THE INDIRECT WAY OF SETTING.
>> Huell: IT HAS A WHAT NAME?
>> THE "INDIRECT WAY" IN OTHER WORDS WE DO IT IN MOSAIC IN REVERSE AND THEN BACKGROUND IT AND THEN IT'S PUT ON THE BED.
>> Huell: HUNDREDS OF YEARS AGO WOULD THEY PUT IT THE SAME WAY.
>> NO THEY PUT THEM UP PIECE BY PIECE.
>> Huell: YOU HAVE TO HAVE A LOT OF RESPECT FOR THOSE PEOPLE.
>> SMFT MOSAIC IN CATHEDRALS, WERE DONE PIECE BY PIECE.
>> Huell: WE'RE GOING TO HOOK UP WITH YOU TWO MONTHS FROM NOW AND WATCH IT AS IT'S INSTALLED.
WE WANTED TO COME UP HERE TODAY TO SEE AS IT WAS PRODUCED.
BEING CREATED.
THANK YOU VERY MUCH FOR YOUR HOSPITALITY.
>> YOUR WELCOME.
>> Huell: AND WE CAN'T WAIT TO SEE WHAT THIS IS GOING TO LOOK LIKE.
ARE YOU EXCITE BESIDE?
DO YOU STILL GET EXCITED.
>> I'M EXCITED NOW.
I'M TWO WEEKS FROM FINISHING THE CUTTING AND ON MARCH THE 31st IT WILL BE UP IT WILL BE GREAT.
AND I'LL HAVE ROOM IN MY GARAGE FOR MY CAR AGAIN.
>> Huell: WELL TIME HAS PASSED.
HERE WE ARE WE HAVE NOW -- WE'RE AEç LONG WAY AWAY FROM ENSO.
>> YES THE OTHER EXTREME.
>> >> Huell: WE'RE IN BALBOA ISLAND IN NEW PORT BEACH.
WHEN WE DROVE OUTSIDE THE CHURCH.
THE NAME OF THIS IS?
>> THE St. JOHN VIANI CHAPEL.
>> Huell: THIS BEAUTIFUL CHAPEL.
THAT'S NOT THE MOSAIC YOU WERE WORKING ON.
>> NO THAT'S ONE I DID IN 1997.
AND THEY LIKED IT SO I'M GOING TO DO ANOTHER ONE, A BIG ONE.
>> Huell: SO THIS IS YOUR WORK UP HERE.
>> YES, YEAH.
>> Huell: THIS IS A BEAUTIFUL BEAUTIFUL MURAL IN ITSELF.
BUT HERE HERE OF COURSE TO SEE WHAT'S GOING ON INSIDE THE CHAPEL.
TO WATCH YOU INSTALL THIS WORK.
HOW FAR ALONG HAVE YOU COME?
>> MY INSTALLEçERS ARE TWO-THIRDS OF THE WAY UP.
>> Huell: BUT EVERYTHING GOT HERE OKAY?
>> OH YES IN ONE PIECE.
>> Huell: GOOD.
SO WE'RE GOING TO CROSS THE STREET AND GO INSIDE THIS WONDERFUL CHAPEL AND SEE HOW YOUR MOSAIC IS COMING ALONG.
[CAR SCREECHING].
WHOA!
WE ALMOST ENDED UP IN THE HOSPITAL.
>> BURIED IN THE CHAPEL.
>> Huell: OKAY, WE'RE INSIDE THE CHAPEL AND I TELL YOU WHAT, THERE IS A LOT GOING ON IN HERE.
>> YEAH, WELL IT DOES NOT LOOK TOO SPECTACULAR BUT THAT'S HOW THEY GO UP.
>> Huell: HERE'S PART OF THE MOSAIC DOWN HERE ON THE FLOOR.
>> YEAH, THIS IS WHAT HAS TO GO UP TOMORROW.
YOU SEE, HE HAS WORKED UP UNTIL THAT POINT.
>> Huell: CAN WE WALK UP IN HERE?
>> SURE, YES.
>> Huell: HOW DOES THIS WORK.
HOW ARE YOU SUPERVISING THIS.
>> WELL, JUST TO SEE THAT EVERYTHING GOES OKAY.
BUT GREG, WHO IS THE SETTER, THE INSTALLER HERE IS A VERY GOOD SETTER, DOING GREAT SO FAR.
>> Huell: GREG?
>> YES, SIR.
>> Huell: IS EVERYTHING FITTING LIKE IT'S SUPPOSE TO.
>> IT'S FITTING WELL YEAH, YOU NEVER KNOW HOW IT'S GOING TO FIT BECAUSE DENNIS HAS BEEN WORKING ON IT FOR TWO YEARS, A LOT OF SHRINKAGE SDMIE.
THIS IS THE FIRST TIME IT'S BEEN PUT UP AND HAD THAT -- WHAT'S THAT IN BETWEEN?
>> GROUT.
>> Huell: SO IT'S THE FIRST TIME GROUT.
>> THIS IS THE FIRST TIME THAT DENNIS HAS SEEN THE WHOLE THING.
>> APART FROM MY GARAGE, IT WAS TOO SMALL.
AND I SEPARATED.
I CAN SEE THE SCALE IN THIS CHURCH.
>> Huell: CAN YOU DO YOU GET A FEELING NOW.
YOU'RE RIGHT UP ON IT.
BUT YOU KNOW WHAT IT'S GOING TO LOOK LIKE.
>> YEAH, YOU WANT TO SEE THE PIECES.
THIS IS A PRETTY BEAUTIFUL PIECE.
THIS IS ONE OF THE SACRAMENTS.
>> THAT'S BEAUTIFUL.
>> ALL THOSE TINY CUTS.
>> Huell: THIS MUST MAKE YOU FEEL WONDERFUL TO WORK ON THIS.
>> IT'S PRETTY REWARDING.
>> Huell: BOY, THIS IS A REAL ART IN ITSELF PUTTING ONE UP.
>> IT CAN BE.
>> Huell: THERE IS AN ART IN NOT ONLY MAKING IT.
>> OH YES.
>> Huell: BUT GETTING IT UP THERE.
>> VERY FEW PEOPLE WHO CAN INSTALL THIS.
VERY FEW PEOPLE WHO WILL GET THE EXPERIENCE.
IT'S REALTIME STUFF.
>> Huell: LET'S JUST GET A SHOT HERE OF THE WAY IT LOOKS NOW.
AND WE'LL BE BACK IN A COUPLE OF WEEKS TO GET THE FINAL LOOK AT THIS WONDERFUL MOSAIC WHICH DENNIS HAS DONE CONTINUING HIS LONG TRADITION OF HIS MOSAIC'S WORKS OF ART HERE IN SOUTHERN CALIFORNIA.
>> Huell: WELL, WE ARE BACK TO SEE THE FINISHED PRODUCT AND A BEAUTIFUL PRODUCT IT IS.
I'M STANDING WITH FRANK MATNOMEç MATNOMERA.
YOU'RE AN ARCHITECT OF THIS PARISH, YOU'VE BEEN PART OF THE REMODELING PROJECT.
AND ALSO IN CHARGE OF THIS MOSAIC.
TELL US ABOUT THE STORY HOW YOU HOOKED UP WITH DENNIS O'CONNOR?
>> WELL WHEN WE NEEDED THE MOSAIC'S TEN YEARS AGO, I WENT LOOKING AT HOME SAVINGS AND LOAN HAVING SEEN HIS WORK ALL OVER THE SOUTH.
AND FINALLY I FOUND HIM SEMI RETIRED.
>> Huell: YOU DIDN'T KNOW WHO HE WAS AND YOU WENT TO FIND HIM IN ENZA.THERE TO DID Eç >> I SURE DID AND IT WAS LIKE THE END OF THE WORLD.
HE WAS EXCITED BUT WITH A LITTLE INTREPIDAITION.
>> Huell: WE WENT UP THERE AND WE SAW THE LABOR.
AND WE SAW THE LABOR OF LOVE.
>> ABSOLUTELY, 18 MONTHS OF HARD WORK.
>> Huell: AND HOW DID THE PARISHIONERS HOW HAVE THEY REACTED TO THIS?
>> THEY LOVE.
EVERYTHING LOVES IT.
WE HAVE NOTEç HAD ANY COMPLAINTS.
>> Huell: YOU KNOW WHAT'S INTERESTING WHEN YOU MOVE FROM SIDE TO SIDE IT HAS ITS OWN LIFE.
KIND OF GLISTENS.
>> Huell: >> A WONDERFUL EXCITEMENT.
>> Huell: DID YOU EXPECT THAT.
>> YES, IN DEED.
>> Huell: SO YOU KNEW.
>> YES, SIR.
>> Huell: WELL IT'S ABSOLUTELY SPECTACULAR.
DENNIS SHOULD BE PROUD OF THIS.
>> THEY GAVE HIM A STANDING OVATION LAST WEEK AT MASS.
MONDAY MOSEMIER HAD HIM COME UP.
>> Huell: THIS IS A SPECIAL PLACE IT'S THE ONLY RELIGIOUS BUILDING ON BALBOA ISLAND.
IT'S NOT USUALLY OPEN ALL DAY EVERY DAY.
BUT PEOPLE CAN COME AND GO TO MASS AND SEE THE MOSAIC?
>> THAT'S RIGHT THEY CAN KILL TWO BIRDS WITH ONE TWO.
>> Huell: YOU'RE SNEAKY HOW YOU GET PEOPLE IN INTO CHURCH.
MASS IS EVERY DAY AT 7:45.
SATURDAY AFTERNOON AT 5:00 AND SUNDAYS AT 8:00, 9:00 AND 10:00.
SO I'M GOOD THAT THE GOOD PEOPLE HERE WOULD WELCOME ANYONE COMING TO THE MOSAIC.
IT REALLY SHOULD BE SHARED.
>> ABSOLUTELY.
WE HAVE VISITORS THAT COME HERE FROM CHICAGO AND ALL OVER THE WORLD.
SO THEY'RE ALL GOING TO ENJOY THIS MOSAIC.
>> Huell: CONGRATULATIONS TO THE CHURCH TO THE CHAPEL TO THE PARISH.
OF COURSE CONGRATULATIONS TO DENNIS O'CONNOR.
WE FEEL LIKE WE FOLLOWED THIS OURSELVES.
AND IT'S WONDERFUL TO STAND HERE.
LET'S GET OUT OF THE WAY AND TAKE A FINAL LOOKEç AT THIS BEAUTIFUL BEAUTIFUL MOSAIC.
THAT COVERS THE WHOLE WALL OF THE SANCTUARY HERE.
A WONDERFUL PIECE OF ART.
IN THIS BEAUTIFUL CHAPEL.
ON BALBOA ISLAND.
