work

Artist Statement: 

Many Native Hawaiians carry historical trauma, much of which stems from the ongoing occupation of Hawaiʻi by the United States. As a student at Kamehameha Schools Maui, I learned about the illegal overthrow of the Hawaiian Kingdom, in which the U.S. imprisoned our Queen in her palace and disregarded the will of the Native people to remain sovereign.

It is said that after annexation, pro-American supporters tore down the Hawaiian flag, cut it into pieces, and returned it to our Queen. In this piece, I layer the anti-annexation petitions behind Queen Liliʻuokalani, frame her with her favorite lei, and reimagine the cutting of the Hawaiian flag. But here, the American flag replaces it—flipping the narrative and reclaiming the moment through an ʻŌiwi lens.

Medium: Matte Medium Transfer on Canvas, molding acrylic, and glitter

Statement: These pieces are reflections on the work of Pegge Hopper– an artist 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