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by Kalamalama staff

“These are bold new stories forged from a multicultural, multidisciplinary fusion of ideas,” said Richardson. The exhibit, he continued, is “A hybrid of East and West, . . . these works help to define an emerging aesthetic unique to Hawai‘i founded on a mix of influences more diverse than almost any other place on earth.”

Mat Kubo exposes the discreet but omnipresent military presence in Hawai‘i, Richardson said. An award winning sculptor from Kaimuki, “Kubo experiments with political work without being didactic, moving . . . towards an open discourse around some very touchy subjects simultaneously inside the gallery and in the public sphere,” Richardson said.

Saint Marko, a San Francisco Art Institute alumnus and a Lahaina surfer, “silk-screens barbarous truths over” traditional Hawaiian landscape paintings that he buys from Maui commercial artists. Richardson called Marko “The renegade street artist who brought us Al-Qaeda Don’t Surf and The Department of Beautification,” and explained that these “Hawai‘i-centric funhouse conceptual works challenge our expectation of what art should look like.”

Carl F. K. Pao presents “some fun and irreverent faux archeological vignettes that take a dig at the hegemonic interpretations of Hawaiian culture,” Richardson said. Pao, who has exhibited internationally, is co-owner of the Kailua gallery Lodestar Collective, and exhibited at Marks’ recent “It’s NaŒau or Newa” show.

Chris Reiner, a graduate of Ringling School of Art & Design in Sarasota, Fla. And a Honolulu native, “creates sculptures and furniture made from the flotsam and jetsam of consumer culture,” said Richardson. Reiner, who was featured recently in the Contemporary Museum Biennial, works with what he calls “Obtainium,” which, Richardson explains, are “objects rescued from the dustbins of history,” objects which, Reiner said, are “doomed for bulk pick-up, to be ever entombed in human unwant.”

Anson Tsang is a contradiction, as he works on a monumental scale creating sculptures that are “informed by Shinto principles of impermanence, suggestion, irregularity, and simplicity,” said Richardson. Tsang “balances the structural and historical tension between wood and steel,” Richardson continued, and pieces suggest violence in their unrefined edges. “The marks of axes, sledge hammers, and chainsaws distance them from slick corporate lobby art and so much large uninspiring public art,” Richardson added.

The exhibit runs until Aug. 26 and is open Tues.–Sat., 11 a.m.–6 p.m.

Richardson can be reached at 808-521-2903, or e-mail info@artsatmarks.


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