MOSES HAMLITON

1: Tell us about your background. Do you feel your culture or upbringing informs your artwork?

Born literally a few minutes' walk from the ocean on Kauai's magical north shore, I was a child who was always called by the sea. I learned to swim almost as early as I learned to walk. I spent the first part of my life living in a treehouse on the beach, which was part of an alternative community called Taylor Camp. I then moved to the Big Island of Hawaii where I spent most of my childhood, before my family and I moved back to Kauai in 1994.

ALOHA HONU

HANALEI DANCING SKY

EMERALD CAVE

IN MOCEAN

In my youth, I led an adventurous and carefree life, spending many days at the iconic island beaches and in the ocean, surfing the powerful Hawaiian waves. My life radically changed on October 18th, 2002, when a car accident left me paralyzed and unable to move most of my body. I spent almost the next four months after my accident on a ventilator, unable to breathe on my own and struggling to survive. Eventually, with the support of my wonderful family and the hard work of the medical staff, especially my respiratory therapist, I was released from the general hospital and set on a new path in my life journey. I eventually found a new purpose and focus as a mouth painter.

I definitely feel my upbringing in Hawaii has had a strong influence on my artwork. Most of my paintings are inspired by the beauty of the Hawaiian Islands and the powerful Pacific Ocean surrounding them. I also find inspiration in the native Hawaiian people and the islands' rainbow of cultural diversity.

BIG BROWN'S BLUES

2: What motivated you to become an artist? What inspires your work?

I have always had a creative streak, starting to draw at an early age. I spent many hours as a youth sketching and doodling, but as I got older, I had less time for it. I had dreamed of being an artist but didn't seem to have the time to pursue it. I have to laugh at the irony of life because, although I lost so much after my accident, it gave me the free time to become a painter.

I find endless inspiration in the miracle of life, our wonderful planet, and the vast universe we are a part of.


3: Have you ever integrated topics of identity race or social justice in your art? If so, how? 

I have a deep respect for the history of the Hawaiian people and their knowledge of the Aina (the land). I believe it's crucial for everyone to honor the indigenous people of Hawaii and learn from their wisdom. They have found a balance between nature and the modern world, living a sustainable lifestyle in Hawaii. Here, we need to manage the resources of the land and sea with wisdom, intelligence, and care.

The ways of the Hawaiians should be respected and embraced. They were the first stewards of the Islands and deserve to be treated as such.

GRANDPA'S MELE 

4: In what way(s) do you feel art has the power to create change? 


The ability to create change through art is huge and far reaching, this is such a big question, and I have a few thoughts about this that I have been thinking about for a few years now:










In essence, art's ability to evoke emotional responses, challenge perceptions, and inspire action makes it a uniquely powerful tool for creating meaningful and lasting change in society.

AIR DROP

BLOWIN-IN-THE-WIND

ANXIETY

5: How would you describe your art?  Style?  Preferred medium?

I would describe my art aesthetic as bright and bold with lots of movement and emotion. It's done in a tropical island impressionistic style with a touch of a folk-art feel. I have dabbled in a couple of mediums, but I work mostly with acrylic paints.

6: Can you describe how your path in art making and art process became accessible to you?

After I got off the ventilator, my time in the general hospital came to an end and I was moved to Rehab of the Pacific, a rehabilitation hospital. There, I did some physical rehab and was taught about the daily routines of someone with my type of injury. I also learned other things to help me navigate through my life.

They had a program there for the patients of the hospital and also for people who were dealing with disability. I would go and watch the sessions. There were a couple of people who painted with their mouth, and I was impressed by their work and their resilience. I found myself often watching them paint and was approached by the art teacher one afternoon. He asked if I would like to give it a try and with some coaxing, I did my first try at painting, holding the brush in my mouth. However, the experience left me feeling depressed. I had so little control over the brush and the painting just looked like a mess, reminding me of my scribbling as a child more than anything. It seemed like an exclamation point on everything I had lost in life, so I told the teacher thank you, but I didn't think mouth painting was meant for me.

A month later, on the day I was preparing to leave Rehab of the Pacific, the teacher showed up in my room with some paint brushes and paints. He said that not often was anyone's first try at something an instant success, and he was right. About a year later, I pulled out those brushes and did my second mouth painting with watercolors of a man's face. Though it was much simpler than what I am doing now, it was a much better experience than my first one. That was the flame that reignited my passion for art. With that passion and a lot of practice, patience, and perseverance, my art has improved exponentially and it means so much to my life now.

WONDER

WIND DREAMER

THE LAST KING

7: What is your disability? How do you identify? How does your disability inform your artistic process/lens?

I broke my neck and injured my spine at my 3rd and 4th vertebrae in a car accident, which left me quadriplegic. I identify as him, he, or just "MO". One of the things that I have learned after my accident as an artist is to be adaptable. Certain brushes work well with the mouth stick I use to paint with, mixing colors is complicated for me, and there are many techniques that are hard or impossible to do with my mouth, etc. So, I am always trying to adjust and adapt things/techniques/tools to my situation, trying to find ways to make it work for me. One of humanity's greatest strengths is our ability to adapt.

8: What was your favorite art lesson as a K-12 student?

I didn't receive as many quality art classes in school as I would have liked, but I do remember one funny little exercise a teacher would do to get the students' creativity flowing. She would have us quickly put down some random loose marks on a page and then have us find something to create using them. It reminded me of finding things in the clouds, and I still on occasion will create a piece using this technique to break away from thinking about what I want to paint and just seeing what comes to me.

9: What is one message you want to give to art educators to make art-making more accessible?

I want to encourage their students to keep creating no matter what the limitations, be they physical ones like mine or even such things like not having the tools. Be creative with whatever you can, just don't let anything stop you from being creative.

10: What is one message you want to give to art students across the neuro-diverse spectrum?

Enjoy the process, embrace your artistic journey, and never give up on your artistic dreams!

-- Mahalo, Mo

Interview by Dr. Reji Mathew 

ARAT Arts Accessibility Advocate

GALACTIC GROOVES

HAENA HONU

JIMI

TO LEARN MORE ABOUT MOSES HAMILTON'S WORK: 

FACEBOOK INSTAGRAM :   WEBSITE: MosArt