KE ‘AKA O KA LI’ULA/MIRAGE (2006)
This installation comments on the impact of tourism on the land lifestyle and people of Hawai’i.
NA WAI KEIA IKE O KA LANI? (2004)
This work addressed tourism and it's impact on Hawai‘i residents.
SAMSARA/HIKI KE POEPOE IA HONUA UA ‘IKE (2004)
This work takes a critical look at how water resources are used and distributed within the Hawaiian islands. I am not content with the status quo-I seek to change mindsets within my home. To talk about attracting businesses other than tourism is one thing, to actually do something about it is not what I see when I look at the actions of the government of my state. This work is meant to awaken thinking in regard to these issues, and to just how fragile our environmental economy really is.
THE GARDEN OF LABOR
In 1984, a group of artists united to save the Ho’omaluhia Botanical Garden from the then destructive planned path of H-3 freeway. In response to the celebratory nature of this 20th anniversary exhibition, I have used a combination of drawing and historical photographs to show the importance of our gardens, and their value to us aesthetically, economically, and as a mechanism for furthering visitor appreciation to the wonder of our island home.
3 MONTHS, 11 DAYS... (2004)
Seven 7-foot long inkjet prints on hand-coated metal substrate created from scans of the artist's that was hair lost over 101 days, attributed to the stress of being a MFA student and the mother of a 4 year old child.
KU‘U WAI, KU‘U WAIMAKA (2003)
The experience of leaving O’ahu, HI to attend graduate school in Baltimore, MD, was a difficult adjustment for me and my family – emotionally, financially, and artistically. Within this installation, I have recreated the experience of dislocation I felt: I did not feel “safe” there. The destabilization of my psyche and my family has changed my view of wai (water.) Upon arriving in Baltimore, all wai seemed like tears, like the many I cried since arriving there. They seeped into my soul and blurred my memories, eroded any semblance of safety I once felt. I placed the saline solution to “cry” over the prints; due to the nature of dye ink, these “tears” stain, alter and fade them in ways to make them change and become ephemeral, like my then fading safe life in Hawai’i.
The Garden of Money (2003)
The Garden of Money examined the effects of the plantation era on life in Hawai’i.
inscrutable equations for growth
inscrutable equations for growth was a mixed-media installation concerning fragmentation in the lives of women as they strived (yet ultimately failed) to juggle the numerous roles which contemporary society expects of them. Through the intentional use of trope and the mana (power) of materials, I address the varied role expectations placed upon women by both themselves and others.