Art Review
Artists share the stories behind 'timetime' works

Editor's note: Art critic Virginia Wageman is on a short medical leave.

By Victoria Gail-White
Special to The Advertiser

Ann Asakura's "Waterman" (mixed media) is part of the "timetime" exhibit. Stephan Doi • Special to The Advertiser "timetime (time after time)" bibelot gallery 1130 Koko Head Ave., Suite 2 10 a.m.- 4:30 p.m., Tuesday-Saturday 738-0368 Through Aug. 24 "Salon des Refuses" American Savings Bank, 1357 Kapi'olani Blvd. Mon-Fri 9 a.m.-6 p.m. Sat. 9 am- 1 p.m. Island Art Gallery, 1365 Nu'uanu Ave. Mon-Fri. 9 a.m.-5:30 p.m., Sat. 10 a.m.-4 p.m. 528-4232 Through Aug. 26

Rainbows arced outside the gallery's windows while (upon request) Asakura, a natural storyteller, expounded on both her work and her collaboration with Umeno. "Morris is my artistic soul brother," she said. "We spoke on the phone many times about the show, but we didn't see each other's work until we actually hung the show. It was chickenskin." Asakura was referring to the unexpected parallels in their creations: Both artists mapped their endeavors on autobiographical grids, using screen material and netting to sift their emotions.

"When I grew up," Asakura told the gathering, "Kapahulu was a dirt road. The kau kau man collected slop for the pigs, the manapua man would sell from his truck and the yasai man would give out candies that had toys inside."

The candies, called "Tomoe Ame," inspired Asakura's mixed-media piece with paper and charms. In "Falling," the jolly mask of okame-san beams "No worry, can handle, no sweat." Asakura's accompanying written narrative says, "It takes too long to pretend. Unmasked. Unprotected."

When Asakura pointed to "Waterman" she said, "Can't talk about this one. It will make me cry." And it did, but then she told the tragic story of how her first love drowned.

Moments like these make art real and alive. Powerful. Understandable. And, whether you are attracted to the artwork or not, you can appreciate the honesty, the process, the intention to heal, to communicate, to provoke.

Ann Asakura ties knots. She attaches things. With her courage and willingness to dig into her consciousness and weave her memories into mixed-media pieces (accompanied by handwritten narratives), she unmasks herself. In "Out of the Box: Time Flies," she refers to a poem an old friend, Charlene, shared during a painful divorce. (Charlene Tashima's Gallery EAS hosted the last collaborative Asakura and Umeno art show in 1988.)

Less talkative but no less eloquent, Morris Umeno's narratives are distilled in his work. In "Father's Wish" and "Mother's Wind Song," the words "just stand strong live" and "live life more wish" appear tied to the sculptural cast paper screens. "In Search of Lost Thoughts," the shapely electric reds and yellows hold pencils waiting to be useful.

In a series of five obis moving through the seasons, Umeno takes advantage of his latest choice for mixed media work. "I made paper for the first time for this grid," he explained. "It was a discovery, an exploration, and really, just a lot of fun."

The "timetime(time after time)" exhibit is a multi-hued and timely collection worth a visit, even if you did miss the opening.

'Salon des Refusés'

Organized by Bonnie Kerr, director of Honolulu Art Gallery, in collaboration with the Honolulu Academy of Art, the intention of the "Salon des Refusés" show is to display, at various Honolulu venues, works of artists which were not accepted into the annual "Artists of Hawaii" show at the academy.

In a letter to applicants, academy director George Ellis wrote, "It is my hope that our collaboration with these galleries will not only provide additional exposure for the work of Hawai'i's artists, but will also generate constructive and lively debate dealing with the criteria for artistic excellence and the jurying process."

Unfortunately, the "jurying process" continued in the form of restrictions on the type of work the galleries would accept. Ellis' letter contained the guidelines from some of the venues: "All types of work with the exception of sexual (sic) explicit artworks." "All artworks with a water/ocean theme." "All artworks created by artists of Pacific island ancestry."

Five locations were found. If you're game for a scavenger hunt, you'll find the largest collection (16 pieces) at the American Savings Bank branch at 1357 Kapi'olani Blvd.

But don't expect a gallery atmosphere. There is no directory of the works displayed, and some are viewable only from a distance, locked inside glass-walled offices or placed behind tellers.

Across one such security moat, a real gem shines: Anne Irons' oil painting "Almost Paradise." Reminiscent of the light of Turner, this large, sensuous, soft green abstract beams a sunlit warmth that transcends its sterile environment.

Other noteworthy pieces at the bank are John Di Grassi's "V Continuum" and April Lew's generous oil on canvas, "1958-First Dream." Matthew Miller's "When Circumstances Permit" and "Mary's Meltdown" are complex works of cubism in watercolor with ink and gouache.

At the Island Art Gallery on Nu'uanu Avenue, two oil pastels by Margo Goodwill (the artist of the year for the 4th Annual Hale'iwa Arts Festival) render waves acquiescent.

Island Art Gallery president Jeff Liu is disappointed that more artists have not participated in the show. To date, he has received six pieces, which he spread out over all three of his gallery locations. Ocean Gallery, Pacific American Gallery and Gallery on the Pali have no artworks at present.

"The show is a success if it connects artists to galleries," says Bonnie Kerr. It may begin to accomplish these goals, but without her further assistance. Kerr and her husband are closing Honolulu Art Gallery and moving to Maui, where she believes the art scene may be more supportive to opening another gallery. Who will carry the torch? Kerr has given voice to art and principles she believes in. Sometimes political, her dedication to her ideas is commendable. We will miss her on O'ahu.

"Salon des Refusés" is a great concept that needs more time to develop.