Only a few days left for two exhibits at Linekona

By Victoria Gail-White
Advertiser Art Critic

The introduction and fusion of related fiber art forms has given the hui, which began with six founding members in 1953, a diversified membership and an interesting history. The narration of this tale is printed out on a chronological chart and on boards throughout the exhibit.

Come prepared to take time to read how this hui grew from six to its present 82 international members. Members from past and present — about 300 — were invited to exhibit in this retrospective show.

Patience, concentration and rhythm are important qualities for a weaver to have but, judging from what is on view in this exhibit, a sense of playful ingenuity is also needed.

A map in the program will guide you through the superb installation designed by Diana Tusher, who also curated the show.

Thirty members worked diligently to display 150 members' contributions, a video installation (with clips of Gail Toma, Reiko Brandon and Olive Williams at work), sections devoted to the hui's residency at Foster Garden (1950s-1990s), and photos of public demonstrations and workshops with samples (from Irma Robinson's "On Color" in 1956 to Ed Fanquemont's "Techniques of Andean Finger Weaving" and Catherine Ellis' "Woven Shibori" in 2003).

This exhibit is biographical, educational and informative as it lists, as much as possible, what type of loom was used to weave each piece.

Words such as warp, weft, overshot, hucklace, shaft-switching, ikat, wedge-weave, Theo Moorman technique and tapestry become real as they connect to woven creations that illustrate their meaning. On a more personal note, it is entertaining to read the stories written by members printed beside their work.

At age 86, Hawai'i-born Jean Williams, the only living founding member, credits Pat Hickman, head of the Fiber Art Department at the University of Hawai'i-Manoa, for taking the local weaving scene to new heights.

"She has really changed the field of weaving here more than anyone else," says Williams. "I enjoy seeing how far it has gone. It is more innovative and interesting than we had ever dreamed it would be."

Williams, who is thrilled with the exhibit, has an international reputation for her large, colorful and sculptural off-loom weavings that is well deserved. Her work has also inspired weavers as she, too, taught at UH. More of Williams' work is in the State Foundation on Culture and the Arts collection.

Samples of Williams' earlier weavings, as well as a piece commissioned by the Honolulu Academy of Arts ("Soft Surfer") and her verdant, tendril-like "The Growth of Chenille" are on display with the past founding members' woven works.

Bios, articles and photos of Rachel Todd, Hallye Spurkel, Eva Marie Judd, Merlechen Jackson and Hester Robinson (who came from Ohio in 1946 to the newly formed Art Department of the University of Hawai'i to begin the weaving program) make up the remaining inner circle of founders.

Because the hui is not limited to weaving, the variety of work is astounding.

Arranged on pedestals are jewelry pieces by Sarah Chinen, Chrys Martin-Nowell and Alicia Oh and needle-woven necklaces by Barbara Edelstein. Exquisitely dyed and painted fabric works by past hui president Trudi Vetter, Diane Lane and Melissa Arnold drape a mannequin and walls, as does the dyed, woven devore yardage by Darius Homay.

A coat by Helen Friend crocheted using audiotape and titled "Silent Voices" and the "Tea Bag Quilt" by Charlene Hughes tickle the imagination. "Je T'aime Paris," a beaded embroidery work by Patricia Greene, incorporates a form of embroidered weaving (check out the curtains) called knotless netting.

"A Life in a Leaf," an elegant appliqué by Paula Rath (The Advertiser's fashion writer), hides tokens of significant life experiences in the puka pockets of a monstera leaf.

Unusually constructed woven pieces include past hui president and exhibit coordinator Sidney Lynch's "Box Jellyfish," Linda Sjogren's "Clown Pants" and Linda Hee's "Fish."

Sections of wonderful woven garments (although one shudders at the thought of cutting a hand-woven piece of cloth) enhance the significance of clothing made one shuttle pass at a time.

On the more practical side, Joan Namkoong's "Kitchen Towels" (one shudders again at the thought of using them) and a striking reversible rug by past hui president John Wesolosky glorify life's necessities.

Jay Wilson's "Chrysalis" tapestry is compelling for its intensely patterned design, while Frances Williamson's "Denizens" is dynamic in its fantastic use of colors and shapes. Marques Marzan's "Nunome" is a stunning 25 by 15 feet of draped, narrowly-woven, lengthy strips of alternating red and white fabric that have been silk-screened.

"This has brought everyone together," says hui president Ghislane Chock, who praised Sidney Lynch for coordinating the exhibit. "We are a small group and we have a lot of transients, but who we are is permanent. I got so many ideas from this show, it is inspiring."

Feeling more connected to her weaving family, Chock, in her second year of presidency, is excited about the next level of growth — exploring the endless creative possibilities available today with innovative fibers and materials and the crossover between weaving and textile surface design.

On the back wall of the founders' inner circle hangs a miniature of the two 40-foot tapestries created by Ruthadell Anderson and Frances Williamson which were commissioned by the state of Hawai'i for the capitol building in 1970.

The artists will give a talk on the process at the UH-Manoa Art Auditorium, Room 101, on March 9 at 4:30 pm. It is free to the public. For more information, call 591-8539. Information on joining the Hawaii Handweavers' Hui can be found at the information table at the exhibit. And be sure to vote for the People's Choice award.