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uncommon
objects
November 2, 2007 - July 19, 2008
uncommon objects
was divided into a series of sections that
explored common threads emerging in craft
production over the last 40 years:
Functional Beauty, Symbolic Functionalism,
Aesthetic Experimentation: Exploration of
Form and Surface, Transcending Boundaries,
and Inspired by Place.
Functional Beauty
Since the beginning
of civilization, individuals have
created objects for everyday use such as
baskets and pots for carrying and
storing, and textiles for clothing.
Today, artists create exquisite
utilitarian objects from commonly found
materials such as clay, wood, fiber
metal and glass that could either be
displayed as a solitary object of art,
or used in every day life--or both.
These functional objects preserve
traditional vessel forms demonstrating
artists’ high levels of skill and
technical mastery of their medium. Each
piece highlights the aesthetic qualities
found in the structure, shape, design
and decoration of the objects, bringing
elegance and beauty to the commonplace.
Background,
left to right: Works shown here by Kenny
Kicklighter, Val Kono, Pam Barton, J.
Kelly Dunn, Hugh Jenkins, Barry Ching,
Michael Tom. Foreground left to right:
Robert Hamada, William Ichinose
Symbolic Functionalism
Although works presented in this section
retain elements of traditional utilitarian
forms, artists begin to move away from the
reiteration of conventional shapes to an
examination of various surface treatments
and designs, while reinterpreting and
expanding these basic functional
structures. Objects demonstrate
explorations in design, color, texture,
pattern, and detail, and bodies of vessels
are transformed into abstracted shapes
that are more suitable for artistic
display and aesthetic contemplation than
as implements for daily use.
Clockwise from left (against wall): Works
shown here by Carl Fieber, Colleen Kimura,
Victor Kobayashi, Webster Anderson,
Toshiko Takaezu, Daisy Kurashige, Garry
Greenwood, Freeman Lau, Christy Vail,
Sharon Doughtie, Russell Wee.
On table from left to right: Ron Kent,
Jerome Heck, Kathy Chock, Jesse
Christensen, Christina Cowan, Barbara
Nickerson, Linda Iwamoto, Michael Tom,
Derek Bencomo
Aesthetic
Experimentation: Exploration of
Form and Surface
Works presented here
illustrate that form does not
necessarily follow function, as many
works are figurative and abstracted
sculptural pieces instead of
traditional vessel shapes. Although
still using clay, fiber, metal, wood
and glass, artists depart from
creating utilitarian objects and
experiment with new techniques and
processes, methods of production,
technological innovations and
investigate new stylistic approaches
to surface treatments. Many of the
works demonstrate painterly
surfaces, transforming vessels and
fabrics into three-dimensional
canvases, where the importance of
texture and pattern to the overall
construction of the piece is as
essential as its form. Rather than
constructed for everyday use,
objects illustrate complex concepts
and ideas, and also express
narrative elements exemplifying the
influence of myths, legends and
folklore.
Background
from left to right: Works shown here by
Reiko Brandon, David Kuraoka, Yukio Ozaki,
Cathy Riley, Vicky Chock, Carol Yotsuda,
Jun Kaneko, Reiko Brandon. Foreground from
left to right: Linda Gue, Wayne Miyata,
Shige Yamada, Scott Fitzel & K.C.
Grennan, John Buck, Esther Shimazu, Tom
McGlauchlin, May Izumi, Satoru Abe, Arrow
Lightheart, Suzanne Wolfe
Transcending
Boundaries
In October 2002, The American Craft Museum
in New York changed its name to the Museum
of Arts & Design. On the opposite
coast of the United States, the California
College of Arts and Crafts renamed itself
as the California College of the Arts in
the following year. The name changes of
these institutions was symbolic, as each
institution declared its embracement of
art, craft and design as equal aesthetic
expressions and modes of creativity
instead of perpetuating the false
distinctions between art and craft.
Similarly, works in this section challenge
and problematize traditional boundaries
between these two socially constructed
categories and question if such a division
or hierarchy exists.
From left to right: Works shown here
by Marcia Morse, Sanit Khewhok, John
Koga, Rick Mills, Fred Roster, Wayne
Morioka
Inspired
by Place
There is a vibrancy of art
produced in Hawai`i that reflects
national and international art
movements. Works illustrate Hawaii’s
own unique artistic fabric enriched by
its cultural diversity and the
prevalent influence of traditional
Hawaiian craft and folk arts.
References to Hawaii’s landscape and
cultures are found throughout the
works in this section. Objects
demonstrate each artist’s admiration
and respect for the distinctive
environment offered by the islands.
The oceans, mountains, indigenous
flora and fauna, traditional native
Hawaiian arts and its people serve as
subjects for the dynamic works
presented here.
Clockwise from left: Works shown here
by Richard Colburn, Pam Barton, Vicky
Chock, Martha Marques, David Kuraoka,
A. Kimberlin Blackburn, Philip
Markwart, Sandy Vitarellli, Claude
Horan, Kauka de Silva, Harue McVay,
William Worcester, Randy Hokushin,
Diane Erickson
Gallery photographs by Paul
Kodama
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