At First Hawaiian Center | Cole, Mydock, Dwellings

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    Peter Shepard Cole. 'Rocky Point 5,' 2014. Oil on canvas.

  • Exhib_slideshow_exhibition_fhc_mydock_koipond_alohalove

    (Left) Mydock. 'Koi Pond,' 2012. Mango, pearlized with pyrography rim. (Right) Mydock. 'Aloha Love: From Ridge to Reef,' 2014. Norfolk Pine, pyrography with oil finish.

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    Ayako Linden. 'Content Composed of (#5),' 2014. Intaglio.

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    Kirsten Rae Simonsen. 'Temporary Autonomous Zone,' 2014. Acrylic, graphite and gesso on wood panel.

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    Fatiha Kheddaoui. 'Puunani, Honolulu, United States,' 2007-2008, 2011-2014. Fiberglass window screen, aluminum, embroidery cotton threads and screenprint. Fatiha Kheddaoui Costa Pacifica, 'Panama City, Panama,' 2009 - 2014. Fiberglass.

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    Jinja Kim. 'Messenger,' 2014. Polymer clay on panel.

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February 11, 2015 - May 15, 2015
First Hawaiian Center

Exhibition Overview

Seascapes and Totems: Recent Paintings by Peter Shepard Cole
As a child, Peter Shepard Cole was introduced to painting and surfing by his father, a big-wave surfer. His series Rocky Point is based on photographs taken while swimming in front of his parents’ North Shore home and convey movement and the play of light on a dynamic surface.

For the Totems series, Cole stacked items he collected while beachcombing at Kahuku Point. “Mass-produced, disposable byproducts of our consumer-based society merge with organic, indigenous objects to form a metaphor for Hawaii’s hybrid culture, shaped by the various influences that have washed ashore.”

Burning Man: Contemporary Wood Vessels by Mydock
Wood artist Mydock uses a variety of specialized processes to embellish his wooden vessels. The technique of “pyrography” or burning, is used to create intricate designs on his vessel forms. He incorporates layers of original designs, influenced by Polynesian tattoos and nature, especially images of undersea animals such as the Hawaiian sea turtle. “Pearlizing” is another technique that Mydock uses which involves air-brushing a work with layers of transparent color, then hand-sanding and buffing between the layers to create remarkably glossy surfaces. 

Dwellings: Works by Fatiha Kheddaoui, Jinja Kim, Ayako Linden and Kirsten Rae Simonsen
brings together four artists who use imagery connected by a focus on places of residence, whether they be familiar or fantastical.

Fatiha Kheddaoui’s works present filtered views of geographical places she has visited or lived and explore how the world around us is perceived and understood. She embroiders on window screens that are presented against a screenprinted backdrop of a map, creating shadows on the gallery wall. Together, the multiple layers of window screen, embroidery, screenprint, and shadows create complex patterns.

Jinja Kim’s whimsical sculptural works utilize the familiar shape of the rectangular house with a pitched roof. Her series of wall-hung houses made with ceramic tiles depict figures in silhouette with directional signs. Her three-dimensional paper houses are made from postcards, which are cut and manipulated to create colorful, patterned forms and offer a playful look at aspects of domesticity. 

Ayako Linden’s intaglio prints depict houses, apartments, and other structures that have a connection to her family’s history. She is interested in what is hidden from view in these places both strange and familiar. “Within each house,” explains Linden, “there are meaningful stories, problems, history that cannot be seen from outside…I am searching for what kind of emotions are evoked within me as I repeat, manipulate, and gather the images together.” 

Kirsten Rae Simonsen’s paintings evoke dreamlike, surreal worlds inhabited by displaced animals, fairy tale characters, and man-made structures. About her Encampments series, Simonsen states, “[These works] envision a world of global nomads who create utopian ‘temporary autonomous zones’ that provide emotional and physical shelter and community. These zones are self-sufficient and offer recreation and celebration, but are nomadic and perhaps fleeting.”