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JUNE 1 - 30

Quality art

No holding prices

Proceeds support idspace events
& HI Art Magazine production costs

 
   

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Thirty thousand years ago, our distant ancestors descended by torchlight into caves in Lascaux, France, to render effigies of themselves and their natural world, in personalized form, scale and color. The residue describes, not what a people saw out in their world, but how our ancestors saw their world.

Huddled in the dead end passages in those caves, are the skeletons of those who became lost clambering down into the darkness in search of a canvas. The risks artists take, and the sacrifices they make for the opportunity to create and exhibit art, testify to the value they place on the process.

In our society today, guided as we are by the principle of commodity, art is often measured as a commercial product. But while the products of art might be marketable, its motivations and essential importance within our community, stand outside economics. We need them – more than to ornament a niche or hang over a sofa – to model possibilities, formulate our realities, and experiment with our moral compass.

Here at our gallery, idspace, for five years we’ve created a small cave for the artists of Hawaii to explore what might be. Our motivation in creating this space was to experience the spirit and imagination of those whose processes and products mark our place and time.

To support our gallery and magazine, those artists have each donated singular representative works to be auctioned without holding price. For this one month, you, our community, will determine the monetary value of these pieces, not as judge of the works nor of the artists’ experiences in making those works, but to measure and determine the value of art in your lives.

 
 
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Bidding ended 12am July 1 - MAHALO!


CLICK ON THUMBNAILS OR SCROLL DOWN TO VIEW ART
 

        

               

              

             

     
        

         


Bidding ended 12am July 1 - MAHALO!


 

 
 

Like to show your support in another way? Consider a full or partial sponsorship of an idspace event or upcoming issue of HI Art Magazine.  email for more information:  info@hiartmagazine

We would like to express our deep appreciation to the artists who have so generously
donated their works for auction and to all of you who continue to support our efforts
at idspace and HI Art Magazine.  Mahalo.

 
 
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Clayton Amemiya

Anagama fired pottery depends on chance kiln events – in particular, the behavior of wood ash circulating at high temperatures causing glaze to form on the clay surfaces in irregular patterns. Although seemingly random, the surface gradations of color are achieved only through deliberate planning and some years of experience.

In my pots I see various sights of this place, Hawaii: moss covered a’a (jagged lava rock) in the rainforest of this windward coast, the dryness of the Ka’u district and the recurring patterns on flowing pahoehoe (smooth lava). The finished pot displays the interaction between earth (clay), fire and wind (flying wood ash), and the results are a collaboration between myself and nature.

PLATTER     wood fired stoneware     18" x 26"    
item # CA1      return to thumbnails
 
 
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Clayton Amemiya 

Anagama fired pottery depends on chance kiln events – in particular, the behavior of wood ash circulating at high temperatures causing glaze to form on the clay surfaces in irregular patterns. Although seemingly random, the surface graduations of color are achieved only through deliberate planning and some years of experience.

In my pots I see various sights of this place, Hawaii: moss covered a’a (jagged lava rock) in the rainforest of this windward coast, the dryness of the Ka’u district and the recurring patterns on flowing pahoehoe (smooth lava). The finished pot displays the interaction between earth (clay), fire and wind (flying wood ash), and the results are a collaboration between myself and nature.

PLATTER     wood fired stoneware     17" x 26"    
item # CA2       return to thumbnails
 
 
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Tobias Brill

With ink I work “brain to paper” using intuition, being open, direct, and taking chances. I draw figures and symbols, injecting words and sentences into compositions where the actions take place in different settings and spaces. Intense situations, libidinal, grotesque and other worldly are depicted. The dark side of life is examined as well as the ordinary; one can be found within the other. An atmosphere of danger and freedom exists. There is a battle between good and evil, beauty, and power. I find myself within the lines, in the midst of the ongoing process of transformation and evolution, expectantly, waiting to see what happens next.

click here to see detail

BEANS ON FLOOR     2008     pen on paper     image 11" x 14"     frame 16" x 19" 
item # TB3      return to thumbnails
 
 
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Jeannie Cartabiano

After decades of working with the public art sector my physical health has led me to return to painting. In contrast to the often times unwieldy, logistical scale of Public Art, I find a directness, an immediate cause and effect, within my process. This intuitive mark-making returns me to a one on one relationship within the work. Because of the way in which I apply layers to the canvas, I’m not sure when any of the work is really complete, or that that is even relevant. Painting and drawing has always afforded me a tenuous sense of personal balance. Structure is determined after the fact.

UNTITLED     2008     Abstract Painting, Acrylic     18" X 24"
item # JC4    
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CHRIS CHURCHILL

Mostly my work is there as a way out of one situation and into a new one; a gateway to escape. That’s how it functions for me personally. I put it out there for people to go into.

 

click here to see detail

UNTITLED     2006     watercolor, crayon and ink on paper      image 9” x 12”     frame 14” x 17”
item # CC5    
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CHRIS CHURCHILL

Mostly my work is there as a way out of one situation and into a new one; a gateway to escape. That’s how it functions for me personally. I put it out there for people to go into.

UNTITLED     ink on paper      image 25” x 19”     frame 32.5" x 26.5"
item # CC6    
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BELLA FREEDMAN

Sometimes random images will pop into your head for no reason at all. That's where I got my inspiration for this drawing, and I was lucky enough to actually draw it decently.

Ba-a-a?     2008    crayon and ink on paper     image 8.5" X 11"     frame 13.5” x 16”
item # BF7    
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STEPHEN FREEDMAN

I have always worked with the vessel as a component element identifying the self. Most recently the fragmented components of vessels have become elements in a process where self-reflection is no longer the object of my work, but rather the subject.

ATTACHMENT DISORDER #7     2008     stoneware     35" X 15" X 15”
item # SF8    
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STEVEN GARON

Many of the photographs created by Steven are images taken on medical missions where he works as a anesthesiologist. His perspectives are not those of a tourist, or even an interested observer - they are eye witness moments captured by a participant.

ENLIGHTENMENT, BURMA     silver gelatin large format photography     image 15" x 19"     frame 22" x 26"
item # SG9    
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SHINGO HONDA

As a child in the northern snow country of Japan, I’d pick up the ice, so shiny and beautiful reflecting the sunlight, but in a moment, it was gone. It had melted in my hand. That transient, ever-changing world has always been what I’ve wanted to express. The word “permanent” is unrealistic. There’s no such thing. I want to melt an irrational concept.

HIGH NOON - G     2007     giclee print of pencil drawing      image 16” x 8.5”      frame 32.5" x 24.75"
item # SH10    
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DANIEL HOSKINS

Daniel enjoys exploring cultural and social paradigms related to everyday activities and conversations, including private jokes, popular culture and "Bar culture”. How do people respond to an image? How does a title reinforce – or subvert – an image?

"Twas not a good day; the cocktails tasted of piss."     1 of 10     image 20” x 12”     paper 24” x 16”     framed
digital print on archival paper made from a scan of an etching/screenprint   
item # DH11    
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MEIDOR HU

I'm interested in the ability of a material or object to teeter at once between being familiar and different, between seemingly precarious and comfortable: the curiosity is materials existing in a space, being both what they are and what they are not.

INTUITION IS NOT BLIND     dyptich     digital print     12" x 24" x 2"
item # MH12    
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MONIKA MANN

I become restless and irritated if I deny myself the process of art making. But when I participate, it does not matter what medium of expression I use, centering clay on the wheel, a conscious stroke with a sumi brush or balancing drift wood on lava rocks, I feel calm and confident.

BENEATH THE SHADOW     2009     stoneware urn     7.5" x 6.5" x 5"
item # MM13    
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PATTI MILLINGTON

Through the use of transparent and opaque printed digital images, layered and combined with found and manufactured objects, I strive to create small worlds to be inhabited by the viewer. I bring my images, begun on the computer screen, into three dimensions, transforming an impersonal medium into a human experience.


alternate view of animation

CHOICES     mixed media shadow box with optical illusion animation     14" x 11" x 2"   
item # PM14    
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DARRELL ORWIG

As artists, we are at any given moment, mirrors and echos of our past experiences. From the earliest memories of childhood, environment, and education, formal or self achieving, determine what we become. That is how I see my efforts as an artist.

While growing up in rural areas of the Pacific northwest I was constantly exposed to mind sets which saw art as a recreational oddity. If a picture looked like “something”, It was “something”. “Realism” has been my vehicle of choice ever since. During the late 1960's and into the 1970's photorealism was a lasting influence and a perfect vehicle. I continue to use it to explore the ironies, humor, social drama, and beauty of my visual experiences.

THE MYSTERIOUS DODGE WAS JUST ABOUT TO ENTER THE TUNNEL AT THE PALI    
oil on wood panel     12" x 12"
   
item # DO15    
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MARGO RAY

I approach my work through the process of collection: postcards, tourist memorabilia, photographs and playing cards. I make notebooks with the raw material that I collect - my process is fast, intuitive, random and excessive, reflecting the contradictions that I feel in my life.

My surreal compositions explore the notions of displacement, vulnerability and authenticity as well as the artist's relationship to natural and supernatural worlds through the allegory of landscape.

CONTAINMENT LANDSCAPE #4     2008     Intaglio with Digital print Chine Colle    
image 10" x 10"     paper 22" x 22"    
framed
item # MR16    
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SUSUMU SAKAGUCHI

The last thing we think about is our Earth. We are conscious and sensitive to those things which change before our eyes; our sensations are boundless yet our perceptions are finite. My paintings are neither social, nor political. They are the natural response of one person expressing in form and body of sensibility, his biological destination.

HEART OF TIME AND FRAGRANCE     2005     print     image 5" x 9.75"     frame 16.5" x 20.5"
item # SS17    
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MICHAEL SHEWMAKER

The camera records a scene over time and collects light the eye cannot. Searching for the right combination of color and light, diagonals, converging lines, and streaks of movement arrests my attention. Technically, the steps are counter-intuitive. I use slow film rather than fast, small apertures rather than large and long exposures of up to a minute to grab just enough light for the desired effect. The results after processing are always surprising, often worthless and occasionally rewarding.

HULIHE'E PALACE     2007      matted photograph      image 14" x 11"      matted  
item # MS18    
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MICHAEL SHEWMAKER

The camera records a scene over time and collects light the eye cannot. Searching for the right combination of color and light, diagonals, converging lines, and streaks of movement arrests my attention. Technically, the steps are counter-intuitive. I use slow film rather than fast, small apertures rather than large and long exposures of up to a minute to grab just enough light for the desired effect. The results after processing are always surprising, often worthless and occasionally rewarding.

SUISAN AT DAWN     2007     photograph     image 11" x 14"     matted  
item # MS19    
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MICHAEL SHEWMAKER

The camera records a scene over time and collects light the eye cannot. Searching for the right combination of color and light, diagonals, converging lines, and streaks of movement arrests my attention. Technically, the steps are counter-intuitive. I use slow film rather than fast, small apertures rather than large and long exposures of up to a minute to grab just enough light for the desired effect. The results after processing are always surprising, often worthless and occasionally rewarding.

THE PALACE     2007     photograph     image 14" x 11"     matted  
item # MS20    
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MICHAEL SHEWMAKER

The camera records a scene over time and collects light the eye cannot. Searching for the right combination of color and light, diagonals, converging lines, and streaks of movement arrests my attention. Technically, the steps are counter-intuitive. I use slow film rather than fast, small apertures rather than large and long exposures of up to a minute to grab just enough light for the desired effect. The results after processing are always surprising, often worthless and occasionally rewarding.

OCEAN VIEW DINER     2007     photograph     image 11" x 14"     matted    
item # MS21    
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RON SMITH

Ron Smith’s neon aluminum constructions interpret today's socio-political landscape in the colors of over-marketed phobic propaganda. Stereotyped icons and clichés orchestrate a tragic/romantic narrative in which deep suppressed social fears rise as personal icons.

UNTITLED     flaming green Buddha     wood, digital vinyl graphics, clearcoat fill surface     11" X 11" X 5"
item # RS22    
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GARY STEINBORN

In my work I try to synthesize influences ranging from the heritage of the American crafts movement to funk and pop art. The goal is to produce ceramics that are immaculately crafted, intelligent and humorous - suitable for a neo-classical palace or personal Zen retreat.

LARGE BUDDHA CAT     clay     13" tall
item # GS23    
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GARY STEINBORN

In my work I try to synthesize influences ranging from the heritage of the American crafts movement to funk and pop art. The goal is to produce ceramics that are immaculately crafted, intelligent and humorous - suitable for a neo-classical palace or personal Zen retreat.

DOG     clay     7" tall
item # GS24    
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JAMIE STOKES

My work comes into being under imperfect conditions. I coax materials into nearly unsupportable forms, stabilizing them. I cannot accept random outcomes. While I reference classic form, it remains a point of departure from which I participate in the accident of imperfection.

SHAPE 24     2008     stoneware vessel     7.5" x 14.5" x 3.5"
item # JS25    
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RANDY TAKAKI

In our world, art is profoundly common; the moments in which it might be apprehended, less common. Whether carved in wood, shaped in wire, sculpted in clay, or reduced from found object, Randy Takaki’s works speak of time and place, but more, of the essential form which links us to moments of transcendence.


detail

UNTITLED     wood     41" x 5" x 5”
item # RT26    
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KAORI UKAJI

For ten years I created works as heavy, unchangeable, solid objects. My feeling was for permanence as concept. I conceived of my life in the same way.

For some years now my life has taken on a different dimension. I have to admit the existence of the variable, of the momentary, of the fragile. I am pursuing spontaneity and a diversity of meaning, through old methods and new materials. I am using an empty mind and an open mind.

 

IN A MOMENT     2007     graphite on paper     8” x 10”
item # KU27    
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SCOTT YOELL

My art practice is a search for in between places, transitory-scapes that exist on the edge of historical pasts, omnipresent realities and unsure futures. These places are created at the same time as they are discovered. I do not see any individual piece as something that is final in its manifestation; rather, I see each work realized as only a moment of clarity expanding upon the realization of a much larger picture.

THE ARRIVAL     set photography depicting 'nose rats' looking out of mouse hole     image 24" x 17"     frame 29" x 22"
item # SY28    
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Bidding ended 12am July 1 - MAHALO!

Like to show your support in another way? Consider a full or partial sponsorship of an idspace event
or upcoming issue of HI Art Magazine.  email for more information: 
info@hiartmagazine


We would like to express our deep appreciation to the artists who have so generously
donated their works for auction and to all of you who continue to support our efforts
at idspace and HI Art Magazine.  Mahalo.
 


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