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"never again", 2008
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Accounts of genocide in Darfur cite at least 200,000 estimated fatalities. These six digits fail to convey the extent of the atrocity taking place. Installed, “never again” surrounds the viewer with columns of numbers from 1 through 213,000 (handwritten on ten 3’ x 6’ sheets of handmade paper) portraying visually what cannot adequately be expressed through the abstraction of a six digit figure. |
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"Benchmarked", 2008
The Contemporary Museum, Honolulu, Hawaii |
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"Bush Canon", 2008
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"Bush Canon" is a daily diary of the last 18 months (573 days) of the Bush Administration, providing an outlet for my rage and frustration about the deception, corruption and abuse of power that was taking place day after day. |
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"drawn glass 0.40, 0.41, 0.42", permanent collection of
Four Seasons Resort, Wailea, Maui, Hawaii |
| mixed media on layered Japanese papers mounted on silk scroll |
60" x 20.5" (each scroll), 2006 |
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| "collateral damage" |
| graphite and pyrography on Stonehenge paper |
30’ x 31-32” (each scroll), 2006-present |
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This piece, a work in progress, is an honor roll of those killed in the Iraq war. Branded numbers are the dates each coalition soldier died. Handwritten numbers enumerate civilians who were killed on or about the same date. This image shows 2 of 5 extant scrolls each 30’ long and 31-32” wide, current through October 2008. Work will continue until war casualties cease.
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| "variation on a meditation 5.0" |
| pyrography, graphite on paper |
18” x 30’, 2005 |
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| Piece highlighted below in 2005 solo exhibition as installed in lobby of a new condominium in downtown Honolulu |
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| "iterations", Koa Gallery, Honolulu, Hawaii 2006 |
| 6 x 9 |
| ash and resin on handmade paper |
64” x 97” (as installed), 2006 |
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Pyrography is a key medium both conceptually and aesthetically. Numbers have been my visual language. In this piece, I combine deconstructed images of my body and Arabic numerals. The images were initially sketched with pencil on wood. Those lines were drawn over with molten glass. The wood was then cut into squares and imprinted on wet paper pulp. When dry, the ash of the burned wood is fused with the paper. The paper also reads every imperfection in the wood. |
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Solo Exhibition at Hui Noeau, Makawao, Maui, Hawaii 2006
Installation views of pieces from the “drawn glass” and “palimpsest” series |
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| "(4 x 4) x 4 x 3" |
pyrography, handmade paper, wood
58” x 78”, 2006 |
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In October, 2005, I spent a day working with a master paper maker at Dieu Donne Papermill in New York City. I had previously branded images on both sides of 9” x 9” plywood squares. The papermaker pulled sheets of lightly pigmented cotton paper pulp and then transferred them around the
plywood squares. The sheets were pressed around the squares in a hydraulic press and then dried in a forced air drying system. This piece incorporates both the handmade paper embossed with the image and the wood squares. |
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"variation on a meditation 5.0" (top) |
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"variation on a meditation 1.1 - 1.39" (bottom) |
pyrography, graphite on paper
18” x 30’, 2005 |
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pyrography, collagraph, aluminum, thread
10" x 20" (each panel), 2005 |
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| variation on a meditation 5.0 (detail) |
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variation on a meditation 5.0 (closer detail) |
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| variations on a meditation 1.1 – 1.39 (detail) |
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variations on a meditation 1.1 – 1.39 (closer detail) |
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Installation view of 2005 solo exhibition at the Academy Art Center, Honolulu Academy of Arts, entitled Variations on a Meditation. variation on a meditation 5.0, variations on a meditation 1.1 – 1.39 and variation on a meditation 4.0 were included in this exhibition. |
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| "variation on a meditation 4.0" |
pyorgraphy, graphite
32” x 9’, 2004 |
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"1 – 16, 259", collection of
Achenbach Collection of the Fine Art Museums of San Francisco, California |
pyrography on paper, steel rods
6’ x 30’ x 4’, 2000 |
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