Beneath the Palm Next to the Matson Container

Presented by Aupuni Space. a solo exhibition and fifth time showing with the gallery.

My statement from the show…

I often enter a space wondering, “who is not here?” I think about the people who would not bring themselves to an art show. What is my role in asking these people to come and look at wood?
This is an art show about connections. Creating varied connections between the fan palm tree and the Matson container that brought you this morning's breakfast. It also happens to be the birthplace of all the works in this show. These works are made from found, gifted, or harvested wood on Oʻahu and carved in this space.
The materials used provide a tangible window into open allegorical conversations about cowry shells, spearfishing, kumu niu, genealogy, migration, groceries, wood, balance, mo’olelo, community, salt, aloha ʻāina, ornamental liabilities, pōhaku, atolls, food sovereignty, ti leaf, olona, 'i'iwi, 'o'o, mamo, kupuna, oceans, islands, banana leaf, glass, synthesis, grandparents, partition, and bazaars.
How we arrive at a solution requires the appetite to be awake and aware. Because a solution isn't necessarily your invention. It's an evolution of something that came thousands of years before you. You donʻt get Meleanna Meyer without her kumu, Hale Kealohalani Makua. The awareness allows you to go back in time - but bring time forward. Community reminds us that we are in a continuum of our ancestors thousands of years ago. Listen.
We are the products of a network that connects and intersects.
The act of presence is revolution.
Marinate in the paradox of place.
These thoughts have been significantly shaped by the words of Mary Therese Perez Hattori, Alvaro Barrington, Khari Mclelland, Meleanna Aluli Meyer, Thaddeus Mosely, Marina Fokidis, and Hu Xiaoyuan.

Mahalo nui loa.