So, what happened to the red dots? Our early PR had red dots; the essay written by Margaret Hawkins deals with salvaging and incorporating the detritus of the creative process back into a piece; minimalism, maximilism (?), the color red. Instead, the gallery walls have been covered with vinyl printed a scrumptious pale blue green (somewhere between robin egg blue and a tender spring green). Instead of repetitive geometric pattern, the walls are animated with organic form in the silhouettes of mighty tree trunks and delicate branches. Instead of utilizing the wood chip pieces resulting from her carving to cover the surface, the walls are being covered with the prints themselves. 100,000 one-inch by one-inch hand-printed cherry blossoms to be individually placed by artist and crew. (Note to self: will need to talk with Margaret).

What happened to the red dots? Ayomi has just said she knew she could not do the same thing again here. I wonder if the space has not influenced her shift back to nature as a source of inspiration. Something about the formality of Altgeld Hall, the iron work of the central staircase, the architectural filigree, the cherry wood trim….What she has captured is the breadth (and breath) created by the apse of the Rotunda and here is creating an orchard that embraces and surrounds. Having just come in from the snow outside, this hint of early spring is enchanting.

What happened to the red dots? They’ve gone the way of all creative installation projects – subject to change…. It is incredibly exciting to have Ayomi commence a whole new approach and project here at NIU.