•	Chen KeZhan, The Spirit of Nature Honolulu Academy of Arts Through Oct. 31. Faculty Art Exhibit 2001 University of Hawai'i at Manoa Art Gallery Through Sept. 21

In Ch'an (Zen) philosophy, it is taught that to reach the mind's utmost is to recognize one's nature, and consequently the nature of the universe "— the spirit of nature. One's chi (vital life force) is revealed in the brush stroke. The bold black brush work in KeZhan's "Scholar's Rock Study I," clearly illustrates that the brush and ink are a fluid extension of his spirit. The rock is alive.

"I think a lot of music is inspired by nature, and I think it all comes from the same sources as painting," says KeZhan. Emotionally expressionistic pieces such as "Distant Blue," "Lotus Pond (Bangkok)" and "Autumn Morning Glow" magnify our visual memories of moments spent absorbing the beauty of nature. While "Untitled, 1999" is abstract visual poetry in seven stanzas, the four exquisite framed pieces "Letters to Myself" are painted on calligraphy paper with the red vertical rule lines still visible. Here, words are unwelcome and unnecessary.

"Darkness of Light" is unusually saturated and dark, but KeZhan is not afraid of the dark. "My darkness" is a pitch black that has the deepest depth. You can't even feel, you can't grab. You don't know how far it is, or how deep and what the space is like. It is in the total darkness that actually has a lot of hope for me.

UH faculty exhibit

The work of 40 art department faculty members and lecturers percolate at the Art Gallery on the University of Hawai'i Manoa campus. The exhibit is displayed to perfection, considering the enormous range of work and styles, by the masterful eyes of curator Tom Klobe (see profile of Klobe from the Aug. 26, 2001, issue on www.honoluluadvertiser.com).

This exhibit offers a wonderful opportunity for students and anyone interested in the art department to view the talents of the teaching staff.

It could facilitate a critical decision to study a new medium or creative path.

The art departments include art history, ceramics, design, sculpture, expanded arts, photography, painting, printmaking, fiber, animation, general studio and glass.

Many of the teachers have been in solo exhibitions locally, on the Mainland and abroad.

A beautifully haunting sepia-toned screenprint, "Menehune-Kauwa" by Laura Ruby (General Studio), states that the menehune are legendary people who accomplished extraordinary feats. She says, "My print intends to be a political and cultural reference to the outcast class, kauwa (untouchables). They were marginalized, exploited and abused by the upper classes."

Debra Drexler's (Art 101/Painting) installation, "Street Angel, Home Devil" is also a strong comment, in a French Impressionist style, on social classes, domestic violence and family history. Drexler says, "The writing is as important as the images."

The night paintings of Ka-Ning Fong, the "Spirit Guide" series of Ron Kowalke, the printmaking of Charles Cohan, the fabricated blown glass of Rick Mills, the "Garlic" fiber of Pat Hickman, the ceramics of Jacqueline Lee, Suzanne Wolfe and Shigeru Miyamoto, the sculpture of Nick Bleecker, Fred H. Roster and Karen Lucas are all impressive peeks at some of the talent teaching at the University of Hawai'i.

Two oil paintings by Pia Stern seem remarkably poignant. "Sudden Departure — In Memory of J.L." addresses the simple feeling of sadness and mystification at the accidental recent death of one of her students. "The Architecture of Hope" floats two squares; one a scratched yellow head in black facing the other square which is all luminous light, surrounded by a field of cobalt blue. "We build constructs of how we see the world," Stern says. "Black and white. We see things in a limited fashion. We can't see what is all around us because we want to name things to feel secure. Truth is something beyond that."

This is a time when we could all use some inspiration to expand our consciousness and rebuild our hopes.