A Leeward Community College alumna who goes by Sasha is reconnecting with her roots through art, and shared a personal body of work at Cafe in April.

Sasha, who earned an associate in arts in liberal arts with a focus on art and art history in 2017, said her time at Leeward CC helped shape both her creative direction and career. From hands-on class projects to a study abroad trip in France, she was exposed to different perspectives that continue to influence her work today.

“Through attending Leeward, doing many different projects in art classes, going on a study abroad trip to France with my classmates, I had so many opportunities to see and feel culture and art,” Sasha said. “Everything I learned has turned into my skill and profession.”

After graduating, Sasha went straight into the workforce and now balances several roles, including work as a TV personality and collaborations with travel media focused on Japan. She also promotes �鶹��ý-based small businesses and continues to build her presence as an artist. Her Instagram account , which has nearly 38,000 followers, shares a mix of her artwork, travel experiences and everyday life in �鶹��ý, connecting with a local audience as well as those interested in island culture.

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Her art exhibit, centered on the theme mālama ʻ�徱�Բ� (caring for the land), drew from her upbringing and her growing understanding of �鶹��ý’s history and values.

“This really reflects the perspective and environment I grew up in,” she said. “The process of myself growing up and learning the history of �鶹��ý… came from my childhood and attending Leeward.”

Sasha also credited her professors and early opportunities at Leeward CC—such as painting murals in the campus theater—with giving her the foundation to take on larger creative projects.

“I hope my art can inspire people in many different ways of thinking about how important mālama ʻ�徱�Բ� is,” she said, “and your education can definitely benefit you in the future.”

Several works by University of �鶹��ý at Mānoa students and alumni are now on view at Capitol Modern: the �鶹��ý State Art Museum in downtown Honolulu. Two portrait exhibits, Contemporary Portraiture: Art in Public Places and Schaefer Portrait Challenge, are open through July 4. Admission is free.

Contemporary Portraiture: Art in Public Places

Two pieces in Contemporary Portraiture were purchased from UH Mānoa’s 2024 Master of Fine Arts (MFA) thesis show, Still Standing.

• Erik Sullivan, MFA, 2024—Can’t See the Forest through the Trees (oil on panel)
• Mari Matsuda, juris doctor and MFA, 2024—E Aloha E (woodcut print)

More UH alumni in Contemporary Portraiture:

• Kelly Ciurej, MFA, 2017
• Carol Yotsuda
• PF Bentley, bachelor of education, 1975
• ��ōʻ��� Mana (collective practitioners)
• Anne Au, master of arts Hawaiian studies, bachelor of science fashion design and merchandising, 2023/2018

The works in Contemporary Portraiture are part of the Art in Public Places Collection of the �鶹��ý State Foundation on Culture and the Arts, a long-standing program that places art in public buildings to broaden access for everyone.

Schaefer Portrait Challenge

The Schaefer Portrait Challenge, a traveling exhibition organized by the Maui Arts and Cultural Center, also features UH alumni:

• Arnold Bornios, BFA painting, 1998
• Jodie Chock, BFA painting, 2013
• Eduardo Joaquin, BFA painting, 2023
• Lynn Weiler Liverton, MFA sculpture
• Challys Pascual, BA studio art, 2024
• Joyce Schaunaman, master’s in interdisciplinary education

Capitol Modern is at 250 South Hotel Street and is open Wednesday–Saturday, 10 a.m.–4 p.m., with extended evening hours during select first and third Friday events.

Leeward Community College’s is currently hosting a monumental and deeply resonant piece of artwork: ʻUmeke ����ʻ����: Culture Medicine. The installation, which had been on display earlier this year at Honolulu Hale and Kapolei Hale, was unveiled at Waiʻanae Moku in November at a community welcome event.

Part of the �鶹��ý Triennial 2025: Aloha Nō, ʻUmeke ����ʻ���� is a massive 22-foot-wide, eight-foot-tall installation created by artist Meleanna Aluli Meyer, in collaboration with ‘Team ʻUmeke’: Honolulu Community College carpentry students, UH Mānoa art faculty and students, and community kokua (help). The work reimagines the traditional ʻumeke—a wooden calabash bowl used for nourishment, water and sacred offerings—as a space for reflection, healing, repair and connection.

ʻUmeke ����ʻ���� will be on display at Waiʻanae Moku before moving on to Maui in January 2026. Hours are Monday through Thursday 8 a.m.–8 p.m. and Friday 8 a.m.–4 p.m. . Meleanna invites guests to “Come home to Hawaiian culture through the arts.”

Shared mission

“Hosting the ʻUmeke in Waiʻanae Moku is an honor,” said Danny Wyatt, Waiʻanae Moku coordinator. “It reflects our shared mission to perpetuate Hawaiian culture and to make art meaningful and accessible to our ʻohana (family) across the islands.”

The installation embodies the values of ����ʻ����, or plant medicine, and features the voices of more than 38,000 signers of the 1897 ��ūʻŧ Petitions, opposing �鶹��ý‘s annexation by the U.S.

The Waiʻanae Kupuna Council, an influential community group, and Waiʻanae Moku invited the installation because of its deep ties to Native Hawaiian communities and its alignment with the campus’s commitment to expanding access to higher education and serving as a vital hub for cultural learning.

The ’s first-ever Insect Art Show, presented with Honolulu Printmakers, celebrated the insect world’s powerful role in art. More than 50 pieces from local artists are being shown in downtown Honolulu, drawing a packed crowd from the arts, science and community members curious about insects.

“We were all stunned, in a good way, by the number of people who came out for the first day,” said event organizer Sandra Schachat from the insect museum, which is part of the (CTAHR). “Our goal is to create opportunities for the general public to connect on a more emotional level with insect biodiversity. They can feel hopeful about conserving insects across the planet, and especially here in �鶹��ý.”

A rich mix of art mediums is on display, including oil paintings, watercolors, mezzotint (monochrome printmaking process) etchings and intaglio linework on metal plates, and risography (digital screen printing). Public response to the art has been strong, with risography, an eco-friendly fine art printmaking technique with vegetable dyes, attracting many admirers. The first piece sold at the show was a risograph Koa Bug by �鶹��ý Island artist Devyn Park from Pencil Urchin Press.

This art show is open to the public at Honolulu Printmakers through December 5. It’s the latest in a series of the Insect Museum’s community events, following the successful family event held over the summer.

The museum will continue its outreach with an open house in December during the Pacific Entomology and Botany Meeting, to welcome scientists from all over the Pacific into the UH Insect Museum.

The ancestor spirit represents my deep appreciation to my ancestors, who I feel are always guiding me in life.
—King James Mangoba ()

As part of its 50th anniversary celebration, Hamilton Library’s and the Center for Philippine Studies at the UH Mānoa opened , an exhibition linking 1500s colonial maps with tattoos as living archives of Filipino cultural memory, on view through February 2026.

Opening events, held October 15–17, drew more than 100 participants for workshops, talks and live tattoo demonstrations. Attendees explored how Filipinos have used body art and the written word to resist erasure—from rare 16th-century maps and letters from the Philippine Revolution to underground newspapers from the Marcos era, all part of Hamilton’s Philippine Collection.

Mapping identity through body and archive

Philippine Studies Librarian Elena Clariza opened the program with a presentation on early colonial maps, connecting “fragile maps on paper with living maps of the body—tattoos as archives of ancestral knowledge and cultural memory.”

Guest artists from California’s Spiritual Journey Tattoo Shop and members of Tatak ng Apat na Alon (Mark of the Four Waves) demonstrated traditional hand poke and tapping tattoo techniques, sharing their nearly 30-year effort to revive Indigenous Filipino tattoo practices.

“In the beginning it was just for us to find our identity, to represent the culture in some way,” said Elle Festin, tattoo artist at Spiritual Journey and a Datu (chief) of the Mark of the Four Waves tribe. “It’s important to get the tattoos to show the resistance and to revolt against the systematic colonial mentality.”

UH community connects to heritage

For King James Mangoba, a UH Mānoa double major in communication & marketing and Hamilton Library social media content creator, the event was a personal and cultural milestone.

“The rice symbolizes my family’s livelihood of rice farming back in the Philippines. The ancestor spirit represents my deep appreciation to my ancestors, who I feel are always guiding me in life,” he said. “This tattoo is a permanent reminder of where I came from and my appreciation to my ancestors who came before me.”

Doctoral candidate Matthew Melendez, from the , participated in the tattoo sessions. “Receiving knowledge from the Tatak ng Apat na Alon tribe through our cultural portal of batok (tattooing) has profoundly transformed me from within,” he said.

The event was co-sponsored by UH Mānoa’s Center for Southeast Asian Studies and Center for Philippine Studies, and Spiritual Journey Tattoo Shop. To support programs like this at Hamilton Library, visit the .

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Mark of the Four Waves members visit the Philippine Studies section at Hamilton Library.The post Exhibit links Filipino tattoos, maps across centuries first appeared on University of Hawaiʻi System News.]]> 225411 /news/2025/11/04/leeward-35th-annual-discovery-fair/ Tue, 04 Nov 2025 23:40:06 +0000 /news/?p=224849 Keiki enjoy bubbles, slime, magic and more during a day of hands-on discovery.

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Thousands of curious keiki and families filled Leeward Community College’s �ʳ�ʻ�ܱ��Dz� campus for the college’s 35th annual Discovery Fair—a free, family-friendly celebration of science, technology, engineering, art and math (STEAM).

Designed for children ages 5 to 10, the fair transformed the campus into a playground of exploration and imagination on November 1. More than 35 interactive booths—created and hosted by Leeward faculty and staff—invited young learners to experiment, create and discover the fun side of STEAM.

Slime, magic, more

Among the biggest hits: Slime Time, where keiki whipped up their own gooey concoctions; Bubble Geometry, which revealed the surprising science of bubbles; and captivating magic shows by Mr. O the Magician, an alumnus from Leeward CC’s first graduating class in 1970.

“My kids had the best time at the Discovery Fair,” said Erin Maruoka, a parent of two and a Leeward CC employee. “They were totally hooked on slime-making and couldn’t get enough of the magic show. Now they think this is what happens at Leeward CC every day and keep begging to come to work with me!”

Other returning favorites included origami, printmaking, balloon creations by Balloon Monsoon, and upbeat tunes from 102.7 Da Bomb.

“Our goal is to spark curiosity and make learning fun,” said Chancellor Carlos Peñaloza. “Events like the Discovery Fair let keiki experience the excitement of STEAM firsthand, inspiring them to imagine, create and explore new possibilities.”

After rounds of hands-on fun, families recharged with ʻ�DzԴ� food from a wide range of local food vendors.

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The post Leeward CC ignites young imaginations at 35th annual Discovery Fair first appeared on University of Hawaiʻi System News.]]>

With recent acquisitions ranging from rare 19th-century lithographs to the archives of �鶹��ý artists and architects, at the University of �鶹��ý at Mānoa continues to strengthen its role as a hub for Pacific and �鶹��ý art research.

“These gifts enrich our collections and ensure that we are able to provide a rich tapestry of materials to support teaching, research and creative activity,” said University Librarian Clem Guthro. “As the library for �鶹��ý only research university, we depend on the generosity of donors to help us build world class collections.”

A set of 57 hand-colored lithographs by Louis Choris from the 19th-century books Voyage Pittoresque Autour du Monde (1822) and Vues et Paysages des Régions Équinoxiales (1826) was donated to the Pacific Collection, which already holds both books.

“These prints are among some of the earliest visual documentation we have of life in the Pacific, and as such are extremely valuable for researchers seeking information on island society, material culture and environments during the early period of contact between Pacific Islanders and Europeans,” said Stu Dawrs, senior librarian in the . He noted that the Pacific Collection is acknowledged as the world’s largest and most complete library of material relating to the Pacific Islands region.

The also received donations, prompting new collections and additions to existing ones. Art Archivist Malia Van Heukelem is establishing archives for UH Mānoa Art Professors Charles Cohan, retiring in December, and Ronald Kowalke, who died in 2021. Both taught art studio classes for decades, earning respect from peers and leaving a lasting impact on students and the community.

The Cohan Papers include sketchbooks, instructional materials and exhibition ephemera from his career as a printmaker. The Kowalke Papers feature faculty papers, sketchbooks, photos and records of his works, including his at the �鶹��ý Convention Center.

Additional acquisitions were made to the and the . The Doi donation adds original works—watercolors, drawings, prints and two self-published books—building on correspondence previously donated. Architect Sidney Snyder, Vladimir Ossipoff’s business partner, donated professional photos, index cards and awards documenting their firm’s projects. Snyder died on September 21, 2025, and had previously donated materials in 2010.

Seven University of �鶹��ý alumni joined more than 50 acclaimed artists from �鶹��ý and around the globe to transform Farrington High School into an open-air gallery during the 13th annual World Wide Walls �鶹��ý festival, held September 15–21. The artists added their creative touch to the Kalihi campus, underscoring the impact of UH talent in shaping �鶹��ý’s contemporary art scene.

The festival was organized by Jasper and Amy Wong of World Wide Walls. Amy, who earned an associate in arts in liberal arts from Kapiʻolani Community College in 2005, led logistics and operations.

“We do our best to beautify communities and help to inspire children, students, faculty, and anyone who actually walks the path of where our art is,” she said. “We hope to inspire them to do something great in the world.”

Accessible art

With the addition of 50 new permanent murals this year, Farrington High School now boasts 67 total works, making it one of the largest collections of contemporary public art in the state.

Among the artists was Kelsie Dayna, a 2011 graduate of the Shidler College of Business at UH Mānoa, who earned a bachelor of business administration in marketing.

“This has been a career goal for me. Jasper and Amy have done so much to make art accessible, and one of the things the vice principal of Farrington mentioned was that art is sometimes intimidating or scary,” Dayna said. “Life is super short, so you want to spend it doing something that you love. Whether it’s art, photography, film or animation, just go for it because you really have nothing to lose.”

Meaningful connections

Also painting was Kaelyn Okuhata, a 2021 Shidler College of Business graduate from UH Mānoa, who earned an MBA. Known artistically as “Art by Sachiko,” Okuhata encourages current UH students to embrace the support and networks available to them.

“Make sure that you network with as many people as you can throughout your journey in school and then onto your career as well, because—everyone here in the islands—I just know they’re here to support you and they are rooting for people within our community,” Okuhata said.

From bold murals to meaningful advice, UH alumni are leaving their mark on �鶹��ý’s walls—and its future.

at Windward Community College will present KULEANA, an ambitious group exhibition running August 29–December 12, 2025, exploring one of �Ჹ�ɲ���ʻ��’s most layered and resonant concepts.

Co-curated by April A.H. Drexel and Gallery ʻIolani Director Kapulani Landgraf, the exhibition pairs University of �鶹��ý alumni, faculty and former faculty in collaborative conversations on the meaning of kuleana—delving into history, politics, culture, identity and socio-economic realities that shape �鶹��ý and its people.

“Recently, 'kuleana' has become a buzzword or stock phrase for many who use it. However, it is far more than a reference to responsibility or privilege,” Landgraf said. “It is about accountability, and the moral courage to right a wrong, no matter the consequence.”

Some artist duos created their works in close partnership, while others contributed individually, each adding to a collective narrative centered on responsibility, accountability and agency.

Participating artists

Participating artists include: Maile Andrade, John T. Koga, Drew Kahuʻāina Broderick, Cory Kamehanaokalā Holt Taum, Kimo Alexander Cashman, Edward Makahiapo Cashman Jr., Kaili Chun, Noelle M.K.Y. Kahanu, Richard Hamasaki, Noʻu Revilla, Stacy Hoshino, Keahiahi Sharon Long, Healoha Johnston, Nina Tonga, Rochelle Piʻilani Hussey Kaaloa, Lia O’Neill M.A. Keawe, Linda Kāne, Malia Ann Crowningburg Kāne, Karen K. Kosasa, Eiko Kosasa, Kekeha Solis, and Kekailoa Perry.

Opening reception

Friday, August 29, 4–7 p.m. at Gallery ʻIolani, Windward CC, 45-720 Keaʻahala Road

Admission is free and open to the public.

Public programs: KOʻAKĀ series

In conjunction with the exhibition, Gallery ʻIolani will host KOʻAKĀ, a series of community discussions and presentations on select Saturdays 3–4:30 p.m.:

• August 30: “Inspirations, Aspirations, Innovations”—Panelists: Maile Andrade, Drew Broderick, Kaili Chun. Moderator: April A.H. Drexel
• September 27: “IN CASE of EMERGENCY”—Panelists: Linda Kāne, Kekailoa Perry, Cory Kamehanaokalā Holt Taum. Moderator: April A.H. Drexel
• October 11: “Perpetual Motion – churning, thrashing, roaring”—Panelists: Richard Hamasaki, Lisa Linn Kanae, Keahiahi Sharon Long, Nāwaʻa Napoleon. Moderator: April A.H. Drexel
• October 25: “festering wounds, battle fatigue, paralysis of toxic shaming”—Panelists: Noelle M.K.Y. Kahanu, Lia O’Neill M.A. Keawe, Karen K. Kosasa. Moderator: April A.H. Drexel
• November 15: “Routes & Rootedness”—Panelists: Kimo Alexander Cashman, Rochelle Piʻilani Hussey Kaaloa, Kekeha Solis. Moderator: April A.H. Drexel

For more information, visit or follow on Instagram.

The University of �鶹��ý Maui College campus was alive with art, as students, cultural practitioners and community members gathered on June 27, for the blessing and unveiling of three new large-scale murals created through the Hui Moʻolelo Mural Project. The murals were designed to elevate the voices and moʻolelo (stories) of Maui’s people.

“At UH Maui College, we believe that education extends beyond the classroom,” said Chancellor Lui Hokoana. “That’s what we want our students to do—to look, to listen, to learn—and then to find their own voices and express themselves. These murals bring learning into our shared spaces, offering moments of reflection, inspiration and connection for every member of our community.”

Laughter and tears

Each mural emerged from Hui Moʻolelo’s unique process: local storytellers recorded audio reflections rooted in memory and place, which were then interpreted by professional artists selected through a public call.

At the Kaʻaʻike Building, artist Solomon Enos created a vibrant piece inspired by the oral histories of Uncle “Gaby” Gouveia, gathered by Pualani Enos of the Matsunaga Institute for Peace.

“The oral histories gave me a ‘kūlolo’ level of understanding of Maui—dense, rich and sweet,” Enos said. “I laughed out loud as often as I was brought to tears. With deep gratitude and aloha, I offer this work to the Maui community.”

Outside the Pilina Building, muralist Eric Finley Jr. (the artist known as SEVEN) translated moʻolelo shared by Louis Garcia III and Kaliko Storer—including the tale of a 92-pound ulua—into a dynamic composition celebrating the ocean’s lessons. The community’s original song, “Pule, Catch Fish and Share,” written during a Kīhei workshop, played as guests arrived.

At the Kūpaʻa Building, Jay Gilleard (Cbloxx) explored ancestral knowledge, healing, and gender fluidity through a mural informed by conversations with Anuhea Yagi, Hōaka Delos Reyes, Nicolita Garces and Ashley Ancheta Galacgac. A carved stone healer’s face symbolizes permanence and generational wisdom.

Brilyn Neizman, a 2025 UH Maui College graduate, watched as the murals were painted and attended the blessing and unveiling. She said the painting outside the Pilina Building is her favorite.

”I love that the Lahaina mountains are in the background. That gives a real sense of community,” Neizman said. “It’s so amazing the way they tell stories throughout the process.”

The presentation by the Maui Public Art Corps and the County of Maui marked the culmination of months of deep community engagement, cultural consultation and creative collaboration.—resulting in three murals at UH Maui College that center the voices and moʻolelo (stories) of Maui’s people.

More about each mural and the stories behind them can be found at .