Native Intelligence / Innate Intelligence set being developed by artist Brenda Mallory at the Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) in Troy, New York.
Working with Christopher K. Morgan and artists (CKM&A) on the new work, “Native Intelligence / Innate Intelligence”, is an inspiring process that I hope blossoms into many more opportunities to engage with this creative and talented group of movement expressionists. I was fortunate to attend one of their residencies to develop, hone, and embody the multifaceted aspects of the work. Set designer, Brenda Mallory was working diligently during the gathering to produce pieces that physically convey the intentions of the work, but to also provide ways in which the dancers could interact with the space and each other.
Troy, New York from EMPAC.Five talented dancers in Native Intelligence / Innate Intelligence trying on wearable elements.The knotted elements speak to the interconnectedness we have with our community and environment.Individuality found in the sea of continuity.Finding ways to highlight individual strength while maintaining collective unity.
I had the privilege of traveling to Pihemanu, Midway Atoll, for two weeks to provide cultural enrichment training to the staff and volunteers of the Wildlife Refuge on makaloa. It was a pleasure to give presentations and workshops on its historic and current significance, protocol training related to the harvesting of the material, processing practices, and various ulana (plaiting) techniques used to make mats. I also was able to share with the staff, techniques on how to process and twist hau (hibiscus) fiber, make different style of lei, and net-making.
Makaloa (Cyperus laevigatus) is a native sedge that was traditional used in Hawaiʻi to make moena makaloa, finely plaited mats treasured in Hawaiʻi. These treasured mats were a specialty of one particular island, Niʻihau. As families intermarried, this practice established new centers elsewhere. Before this practice went dormant back in the late 1800s, it presence was found on Niʻihau, Kauaʻi, and on the northern tip of Oʻahu in Mokulēʻia.
The plant was brought to Pihemanu from Laysan Island to create habitat for a transplanted colony of Laysan ducks that were brought to the island more than a decade ago. Since then, the colony has prospered and so has the makaloa. Makaloa has done so well, that it is nearly overtaking several of the seeps created for the ducks. Because of this, discussions on how to use this resource responsibly and with cultural awareness afforded me the opportunity to share my experience with makaloa to an eager community wanting to learn.
Makaloa growing along the banks of a seep on Eastern Island.
Makaloa growing along the banks of a seep on Eastern Island. The Laysan ducks are very happy with there home.
I was told that the Laysan duck population in Midway is now slightly larger than the population on Laysan.
Juvenile Mōlī (Laysan albatross) standing on Makaloa encroaching on a seep on Eastern Island.
Harvested Makaloa allowed to dry for a few days before further processing.
Flattening partially dried Makaloa to allow for faster and more even drying of material.
Grateful volunteers learning how to weave mats with this precious resource.
Grateful volunteers learning how to weave mats with this precious resource.
Progress after morning session.
Several projects at various stages of completion.
Small sample mat I am finishing with naturally dried materials gathered alongside the fresh material from the seep.
My little experiment, making a miniature hīnaʻi, traditional style fish trap, with Makaloa.
Completed miniature hīnaʻi complete with cross pieces, stone weight, and lashing.
While on Pihemanu, it was amazing to see such enthusiasm and eagerness to learn about makaloa and its cultural significance in this small island community. It one point, I believe there were well over a dozen people weaving with makaloa in one place, the most I have ever witnessed gathered anywhere in the entire archipelago of Hawaiʻi. This experience was truly an honor and privilege, and I hope one day to return to see the fruits of this journey. E ola Pihemanu Kuaihelani!
I had the opportunity and privilege to exhibit a collection of work at Orenda Art International on the Left Bank in Paris, France. This gallery carries works from a number of indigenous artists, including works from artists like Preston Singletary and N. Scott Momaday.
Orenda Art International on the Left Bank in Paris, France.
Peʻahi, made with pandanus, hibiscus cord, coconut cord, and midribs.
Peʻahi #1, made with cotton rope, aluminum wire, and coconut cord.
Peʻahi #2, made with cotton rope, aluminum wire, and coconut cord.
Peʻahi #3, made with cotton rope, aluminum wire, and coconut cord.
Peʻahi #4, made with cotton rope, aluminum wire, and coconut cord.
Swirl #1, made with coconut cord.
Peʻahi puʻupuʻu, made with cotton cord and split reed.
Art opening at Orenda Art International on the Left Bank in Paris, France.
Interior shot of Orenda Gallery.
Interior shot of Orenda Gallery.
Artwork of N. Scott Momaday in the gallery, sharing space with my work.
Artwork of N. Scott Momaday in the gallery, sharing space with my work.
Artwork of Preston Singletary in a case, sharing space with my work.
PŪTAHI 5 i Tahiti, was an indigenous visual arts gathering hosted by the Centre des Metiers dʻArt, in Papeʻete from 16-30 June 2017. This gathering brought together visual artists from across the Pacific, including Tonga, New Caledonia, Hawaiʻi, Cook Islands, Aotearoa New Zealand, and French Polynesia. During our time together, we created work, shared stories, techniques, collaborated with each other, and enjoyed each others company. Opportunities like this allow us to establish lasting relationships with new friends and reaffirms those that exist with old ones. Sharing space with other visual artists from the Pacific was truly a rejuvenating experience. Even though at times we had difficulty communicating with one another, we each reawakened our ancestral bonds we share. Here are a couple of pictures of our time together and some of the work created.
Exhibition of participating artists at the Winkler Gallerie in Papeʻete.
Opening reception of the exhibition of participating artists at the Winkler Gallerie in Papeʻete.
Exhibition held at the Tahiti Museum.
Artwork created during the PŪTAHI 5 i Tahiti gathering.
Artwork created during the PŪTAHI 5 i Tahiti gathering.
Artwork created during the PŪTAHI 5 i Tahiti gathering.
Exhibition opening of artwork creating during the gathering.
Exhibition opening of artwork creating during the gathering.
Exhibition opening of artwork creating during the gathering.
On Saturday June 10, Bamboo Ridge is hosting a book reading of their journal, issue #110 at the Louis Pohl Gallery from 1-3pm. I am the featured visual artist in this issue and my work is used as the cover art. If you are free, come on by and meet some of the contributors to the issue and I will be doing a netting demonstration too. Kōkō ‘Ula runs until Friday, July 28.
Here are some pictures of my wearable presentation that was part of the opening of the Honolulu Biennial last night. This component of my Honolulu Biennial work was a one time presentation, just for the opening.
Last month, I finished installing a commissioned work for the Maui Brewing Company, Waikīkī location. Here are a couple of pictures of the work in place. There are three sections of cord work in the restaurant. The main section is 29 feet wide and 9 feet tall, pictured above. The second piece is 25 feet wide and 4 feet tall. The last section, not shown, is 8 feet wide and 5 feet tall. They are all inspired by Hawaiian chiefly carrying nets, kōkō puʻupuʻu.
I had the opportunity and privilege to exhibit a collection of work at Orenda Art International on the Left Bank in Paris, France. This gallery carries works from a number of indigenous artists, including works from artists like Preston Singletary and N. Scott Momaday.
