work
the people's queen
Dimensions: 14.5x20
Medium: Matte medium gel transfer on a wood plank, acrylic, canvas, and acrylic molding paste.
Year: 2022
Artist Statement: "Many Native Hawaiians carry with them historical trauma caused by the offenses of the United States. As a student at Kamehameha Schools Maui, I learned of a particular incident that has remained imprinted on my soul. That is the illegal overthrow of the Hawaiian Kingdom, in which the U.S. imprisoned our Queen in her own palace, and rejected the desires of the Native people to remain sovereign. Those who illegally overthrew the kingdom insulted the entire Hawaiian race by taking the Hawaiian flag, cutting it into pieces, and returning it to our Queen on the day of annexation. In this piece, I place the anti-annexation petitions behind our Queen Lili'uokalani, frame her with her favorite lei, and replicate the cutting of the Hawaiian flag. In this case, our flag was replaced with America's to symbolize the true feelings of the Hawaiian people."
welcome to paradise
Dimensions: 16x20
Medium: Matte Medium Transfer on canvas, acrylic
Year: 2022
Artist Statement: "Often when people think of Hawai'i they imagine pristine beaches, a thriving culture, and a welcoming Native people who serve endless amounts of "aloha." This is, of course, a false image forced on the Native people by corporations who seek to gain from the Native land and culture. In reality, Hawai'i and its beaches are overpopulated, overtaken by trash and homelessness, and the culture is diminished to coconut bras and grass skirts. In this piece, I try to convey the damage this false image and excessive tourism has on the land and culture."
Home favorites
Dimensions: 13.5x20
Medium: Matte medium gel transfer on a wood plank, acrylic, and acrylic molding paste.
Year: 2022
Artist Statement: "Since I was born and raised in Hawai'i and have an ancestral connection to the land, I have amassed a collection of artifacts that represent my experiences there. In this piece, I cling to my love for my culture, the sweet scent of puakenikeni, and the taste of Hawaiian sun juice-- which I used to insist on having in my "sippy cup" as a child. When I look at this painting, I feel a sense of nostalgia, which connects me to the people in my life who have a similar relationship with these items."
I am the myth i
I am the myth ii
Medium: Matte Medium Transfer on Canvas, molding acrylic, and glitter
Statement: These pieces are reflections on the work of Pegge Hopper– an artist from California who moved to Hawai’i to pursue her art. Hopper typically creates paintings of lounging Hawaiian women, which is not a reality that most Hawaiian women can afford. Hopper’s paintings have been widely known throughout tourism in Hawai’i and have generated large profits. Hopper has been quoted in Ka Leo, a publication by the University of Hawai’i Mānoa stating “I am not painting Hawaiians, I am painting a myth, it has nothing to do with Hawaiians. I am merely using them as a beautiful thing just like an orchid.” Being that I am of Native Hawaiian descent, born and raised on Maui, and that Hopper is not but still uses depictions of Hawaiian women as myths, I created these pieces to question what art is in society that depicts Hawaiians? Who is making this art? How are they contributing to the false or authentic perceptions of Hawai’i and its people?
Citation: Pegge Hopper And The ‘Myth’ Of Native Hawaiians: Famous for painting images of Hawaiian women reclining, the artist’s style and views raise questions about power and privilege., Natanya Friedheim, 2020, Manoanow.com
untitled i
Medium: Acrylic on felt and chain.
Year: 2023
Statement: As I’ve progressed through my practice, I’ve wanted to experiment with different materials and silhouettes. Through my research on the art of softness and sculpture, I began to think about what softness means to me. As a woman, I feel that I am expected to be soft, timid, nice, and conversational yet non-confrontational. I can try to live up to this expectation all I want, but there is constant frustration and anger with societal expectations of women and my own definition of my identity as a woman.
untitled ii
Medium: Felt and wire
Year: 2023
Statement: An extension of my experimentation with softness.
A mess
Dimensions: 35x25 (inches)
Medium: Latex paint, rope, oil pastel, Sharpie, graphite, acrylic molding paste
Year: 2022
Statement: “I frequently methodically plan out my paintings. This has undoubtedly resulted in the product that I envisioned, but it doesn’t always leave me feeling completely satisfied. I really tried to let my body take control with this piece, to simply react and re-adjust without a set plan in place. In the end, what was placed on the canvas can be easily interpreted as a confusing jumble, but its process left my mind and body undoubtedly tranquil.”
untitled
Medium: Acrylic on canvas, and rope.
Year: 2023
illusions
Medium: Printmaking
Year: 2022
no empty spaces
Medium: Printmaking
Year: 2022
map
Medium: Spray paint, embroidery floss, clay, acrylic.
year: 2023
statement: This is a product of my walking performance in the city. I was drawn to the colors seen throughout my walk and drew inspiration from them to create this piece.
Aloha ʻāina
Medium: rocks, Linolium stamp and acrylic.
Year: 2023
Dimension: about 5 X 5 X 5 inches
Statement: While living in New York City, I was confronted with the reality of consumerism and the trash it creates. With my background as a Native Hawaiian, I value taking care of the Earth and seeing every natural element as a member of my family. The Earth gives and the Earth takes, this piece symbolizes the consequences of disrespecting the Earth as well as a call to do better.