ART
Hawaii Watercolor Society shows off luminous works

By Victoria Gail-White
Advertiser Art Reviewer

Pigments ground with water-soluble gums, brushes, plain water and a high-rag-content paper are the basic tools of the watercolorist. Though it has a history dating back to the 14th century, watercolor painting in its present form was developed in England in the 19th century.

"Banyan Fair"is a watercolor by Jackie Black. Photo courtesy of the artist

The inspiration for the subject matter in the paintings in this exhibit, jurored by the reputable watercolorist and teacher Jean Grastorf, all emerge from pleasures in life: flowers, daydreaming, fruit, food, dancing, flowers, singing, flowers, people, street scenes, colors, mountains, trees, ocean and flowers. Fortunately, flowers are lovely to look at, and this exhibit features them painted in many varieties and styles.

Flowers also took two of the eight awards given by Noreen Naughton, the award juror. Yasuko Abeshima received the First Hawaiian Bank Award for "Hawaii Summer" — an impeccable, realistic rendition of a section of a pale yellow rainbow shower tree. "Ginger" by George Woollard, a more impressionistic version of the flower, won the Cedar Street Galleries Award. "These award selections best represent art works that are based on visual form expressing the inner feelings and sensitivities of the artist. These images remain in my mind as authentic voices," Naughton wrote in her juror's statement.

Scott Fuller's mixed-media work "Hawk & Doves" explores ideas of war and peace. Photo by Monique Saenz

Transcending the boundaries of paint and paper, two other works deserve mentioning. The detail of the patterns and the use of light on the face of the female 'ukulele player in "Tutu's Treasure" by Bridgette Adams portray the intention of every musician — to uplift the listener. This painting uplifts the viewer. In "Dancing Waters" by Shizuko Mansho, the water glistens as you walk by. With light and sparing strokes of iridescent color, the artist has captured the shimmering effect on the water's surface.

An abundance of talent graces this exhibition, but the installation of the show presents some disappointments. These are partially because of the space limitations in the gallery. The art works hung in the windows at eye level are difficult to look at during the daytime because our pupils are squinting from the brightness of the sunlight glaring between the pieces. This puts all the eye-level window pieces at a disadvantage. In the future, it may be wise to paper the windows or put up screens behind these works to display them properly. Best to view after 5 pm.

The society here in Hawai'i is 300 members strong.

For more information about The Hawaii Watercolor Society, call 521-9799.

"The majority of humanity wants to survive within a peaceful balance of life," writes Scott Fuller in his artist's statement. That this is our commonality is his conclusion after months of contemplating this exhibit and exploring the differences and similarities among various world cultures.

A teacher of ceramics and sculpture at Brigham Young University, he poses questions to the viewer in his statement: "What does it mean to be human? What is the commonality that transcends culture and connects humanity? How well do we manage our natural resources? Does the interaction between humans and fossil fuels contribute to war? How do humans sustain life? What does the seed represent to you? What do we have to sacrifice to attain a peaceful world balance?"

Fuller is young and conscious of the world in which he lives, the history behind him and the future before him. This solo exhibit expresses his concerns through media that range from ceramic sculptures to mixed-media works.

The mixed-media painting, "Doves and Hawk," Fuller says, "is the heaviest in terms of philosophical intent because it is a commentary on our current state of the world. There is an elusive peace that occurs briefly throughout history. For a moment, we see and feel peaceful actions. However, it doesn't stick, it moves." The dove represents good intentions. The hawk, by its very nature, is predatory. "The world operates on a micro and a macro scale. Will we decide to start a war or initiate a handshake?" There are mementos in this colossal ultramarine blue artwork from the many cultures Fuller has visited: India, Sri Lanka, China, Mexico, Hawai'i and the Mainland. Both birds in the painting walk across broken glass.

Fuller's series of acrylics on paper titled "The Experience of Color (Nos. 15, 3, 5, 20, and 24)" are smaller renditions evocative of the paintings of Morris Louis, an American painter who floated pure colors, without visible brush strokes, on large canvases. Fuller's "The Experience of Color No. 20" is particularly appealing in its serendipity of color combinations and butterfly allusions.

"Seed," made of earth pigments, acrylic ink, handmade paper, charcoal, tar, banana stalk and boar jaw, represents the beginning and end of life. "Besides plants," says Fuller, "the seeds of humanity are also spread — not only the seeds of procreation but intellectual seeds, seeds of love, seeds of hate and so on."

It is Fuller's penchant to communicate complicated concepts through his artwork. He has the tenacity and skill to persevere in his exploration.