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									One Cameron Way, Kahului, Maui, HI 96732

Neida Bangerter, Exhibit Programs Manager
Tel: 808-242-2787 x288 E-mail: neida@mauiarts.org

Barbara Trecker, Marketing Director
Tel: 808-242-2787 x232 E-mail: barbara@mauiarts.org

FOR IMMEDIATE RELEASE: December 29, 2007

                           The Schaefer International Gallery at Maui Arts & Cultural Center
                                           Vintage: Maui Artists with a Presence
                                                    Exhibit January 6 - February 17, 2008

                        MAUI ARTISTS PROVE THEIR PRESENCE JAN 6 - FEB 17

A group invitational exhibition with some of Maui‟s favorite established artists will be on exhibit on at the Schaefer
International Gallery at Maui Arts & Cultural Center from Sunday, January 6 through Sunday, February 17, 2008.
Entitled Vintage: Maui Artists with a Presence, this special exhibit features thirty-four Maui artists whose careers as
active and innovative leaders in the arts are honored. Most of the artists have been working on Maui for thirty years
or more and are members of the “60 Year Young” Club, and all continue to make an influential mark on the Maui art

For this collection, each invited artist was asked to present a „mini retrospective‟ of three works: one work from a
time early in their career; one work from a middle, vigorous stage of their life as an artist; and one new work which
 represents a current focus or interest. Artists have been asked to connect their three selections with a short written
narrative of 100 words or less. The stories accompanying the work are heartwarming and fascinating, with thoughts
about influences, inspirations, and accomplishments along the way. Being able to connect to the artist‟s journey
through visual perceptions and written word, enriches the experience of human response and appreciation of the life
of the artist.

The artists contributing to this exhibit are: George Allan, Pamela Andelin, Evan Asato, Margaret Bedell, Walter
Bruder, Christina Cowan, Carla Crow, Ann De Weese, Rik Fitch, Bob Flint, Betty Hay Freeland, Marian Freeman,
Sam Kaai, Jan Kasprzycki, Pat Masumoto, Jacob Mau, Brian Miller, Dick Nelson, Darrell Orwig, J.B. Rea, Piero
Resta, Phil Sabado, Tom Sewell, John Shoemaker, Bjorn Skrimstad, Sandy Vitarelli, Tony Walholm, Donnette-Gene
Wilson, Jay Wilson, Bill Worcester, Sally Worcester, Shige Yamada, Sidney Yee.

The exhibit Vintage: Maui Artists with a Presence runs through February 17 at the Maui Arts & Cultural Center.
Regular gallery hours are Tuesday through Sunday, 11:00 am – 5:00 pm; the gallery is also open before Castle
Theater shows and during intermissions. The exhibit is open to the public and there is no admission charge. For more
information about the exhibit or the Schaefer International Gallery, please visit the MACC website

George Allan
From earliest memories, I had always assumed art would be a big part of my life, and viewing numerous old masters and having
many encounters with professional artists in my travels has been an ongoing inspiration.

I’ve been following my art instinct all my life and have been fortunate to tread the fine line between academic respectability and
commercial success. When you’re young you yearn for shows at the Whitney or MOMA, but it’s nice at age 70 to know you’re
happily where you want to be.

What an exciting trip so far! Who knows what’s coming next?

Untitled, 1975, oil on canvas
Hiking the Halemau`u Ridge, 1998, oil on linen
Self Portrait, 2007, oil on linen

Pamela Andelin
Because of my dad, the artist Emerson Andelin, I grew up around art. During the war, he'd let me draw pictures on the glass
before he blacked out the windows.

I started painting in my forties. I was overwhelmed by how much I loved it. I remember the first painting I did on location-Hon
Chue Hee, founder of the Honolulu Watercolor Society, was with me. It was of the bench fields of Lanai, wet on wet. I like being out
in the pineapple fields or the taro fields with the sound of the water.

Bench Fields of Lanai, 1967, watercolor
Keanae, 1992, oil on canvas
Abstract, 2007, oil on canvas


Evan Asato
Evan Asato initially studied advertising design at Los Angeles Trade-Technical College and Art Center College of Design and later
studied art under the guidance of prominent Hawaii artist Tadashi Sato.

Asato's early period works were done in Germany following visits to Vienna, Austria and Italy in1972. His middle period consists of
works retaining his mentor's statement style with geometric shapes and line motifs. Currently, Asato works with large scale
minimalist works using line and a limited palette as his primary expressive motifs. His work represents a synthesis of Eastern and
Western cultures stated in a modernized transcendental manner.

Michelangelo’s David, 1975, conte pencil
Untitled Composition in Blue & Red, 1987, oil on linen
Technonic- Right Angles, 2007, acrylic on canvas

Margaret Bedell
Margaret was born in Toronto, educated in Canada and England and graduated from University of Toronto in 1944 in English
Language and Literature. In 1979 she earned her Masters in Printmaking at California State Long Beach and is still a member of
the Los Angeles Printmaking Society.

For ten years she exhibited at the Laguna Beach Festival of the Arts. She still operates her Corona Del Mar Gallery and exhibits
regularly here on Maui. Known for her use of saturated color, Margaret continues to enthusiastically create in oil, watercolor, prints,
mixed media and photography.

Diana, 1973, pencil
Land Where The God’s Dwelt V, 2000, mixed media
No`ono`onui, 2007, oil on canvas

Walter Bruder
Aside from basic insanity, here are some of the people, places and things that come to mind:

Dirt farming in Michigan, Topography from Mount Whitney to Death Valley, Greco Roman Art and Architecture, UCLA Ceramics
and Art History Professors, Kiln Building, Child Rearing, Earthworks on Sunset, Jimmy and Janis, Beach Sand, Watts Towers,
Calligraphy, Mohammed Ali, Native American Pottery, Voulkos, Mason and Hamada, Maui, Plants, Rocks and Water, "The
Mustard Seed Garden of Painting", Bonsai and Penjing, Tradewind Showers, Freedom, Interacting with students-third graders to
seniors, Hui No'eau, and, first and foremost the love of my life.

My First Pitcher, 1965, ceramic
Reflections in a Mountain Lake, 1997, ceramic
Seventeen Monkeys, 2007, ceramic

Christina Cowan
“A longing for the imperishable quiet at the heart of form”
has been central to my work since I first touched clay.

In the beginning it was elegant form.
As time passed, other qualities interested me
and have become constants.
     Form created from multiple parts
Form in relation other forms

The color, warmth and charm of earthenware
Containers for liquid
Clay as the primary but not only medium
Ordinary, common-place objects in still-life settings.
  And, the importance of titles

Vase for Flowers, 1981, porcelain clay
Joy, 1991, mixed media
Oil Never walk Alone, 2007, clay/mixed media

Carla Crow
Kansas, l980, transitioning from photography to drawing; I'd trained my eye for composition thru the camera lens. Self taught and
self dictated, I leaned toward the metaphysical in subject matter and developed a passion for symbolism, sensing it was my
language in art.
   By '93, bark paper was my material of choice. Each unique sheet inspired the expression of joy and excitement in my life on
Maui and the beautiful culture I'd encountered here.
   These days the journey is more inward, though the intrigue with line, contrast, pattern and ethnic design continues.
   To quote Jean Charlot - "Art is to thought what his voice is to man."

Zenith, 1980, pen & pencil on paper
Makali`I, 1993, acrylic on handmade bark paper
DZI lll, 2007, mixed media on handmade bark paper

Ann DeWeese
Ideas have always come easily. Visions of completed work have often unrolled before me. In reality these ideas and visions are
the essence of art. Now I’m thinking of all the parts that go into a piece; seeing remnants of ancient Egyptian clothing, studying art,
being connected to Buddhism, spending time with friends, talking. Then I begin thinking of rendering of the piece; all the cutting,
pasting, drawing, sewing, dying, painting, which is so time consuming. “Was it worth it?” I ask myself remembering that each
piece was originally just an idea.

Mandala, 1970, fabric/acrylic
Descent, 1985, dyed & appliqué silk
Vintage Cocktail Party Ladies, 2007,paper collage

Rik Fitch
The creation begins with the idea, then there is the surprise. This is the first joy and the new pleasure of being the creator. The first
painting is a bit primitive but he is happy. His mother likes what he does, she is his first collector. Now this new artist wants to learn
by looking at art made by others and studying design, color theory, composition and form. He soon develops a style and makes a
living by his art.
After many years there is a return of the first joy and discovery of being at one with the creator and his creation and being lost in
time…. the true pleasure of making art.

Vermont Sledride, 1976, acrylic on canvas
Daylight Comes Naturally, 2000, oil on canvas
The Journey, 2007, oil on canvas

Bob Flint
My start with clay was in 1960 when I took a hand building class at the UH, Manoa. I progressed to throwing and this pot is from
that early 60's period.

After a long phase of just throwing I returned to hand building and did a series of stylized Hawaiian cape forms which combined
different non ceramic materials. This cape form is fired clay decorated with metallic patinas.

I then moved into creating large scale sculpted murals on walls and building, which became my true artistic passion. I am currently
working on an Artists in the School residency and sculpture project at King Kekaulike High School using the mural concept on a
three dimensional form with steel, concrete and ceramic tiles.

Maroon Vessel, 1960, clay
Cape Sculpture, 1980, clay
Nā Kama kū I ka moku, (The children who represent this place) 2007, mixed media
Betty Hay Freeland
In 1965, I decided to spruce up the walls of our first home with paintings. I did not know it at the time, but these paintings were the
beginning of my life as an artist.

By the mid-70’s, with my children in school, I realized that I had exchanged a career in retail marketing for a new and exciting life
as a painter.

My life is enriched by people from all walks of life, classes, new visions, and a driving passion to capture the essence of my
subjects. Hawaii has moments of soul fulfilling beauty renewed daily. I could not be happier. Tomorrow is another painting day!

Chinaman’s Hat, Kualoa, Oahu, 1965, oil on canvas
Punahou Carnival, 1984, oil on canvas
Noe`ula Kōke`e, 2007, oil on canvas

Marian Freeman
The experience I seek when viewing art is the same as the pure joy and excitement of listening to great music; the resonances,
form, contrasts, harmonies, flashes and tensions. It’s a feeling I want to evoke with my own work by focusing on line, shape and
color. Some things focus more on value; shape is, of course terribly important, but for me color is everything! I’ve loved painting
cows because people respond to them. They’re so open and honest. Cows are gorgeous. There are so many combinations of
roundness and angles, wide expanses that appeal to my sense of shape and color.

Ginger, 1938, drawing
Self Portrait, 1997, oil on canvas
Mama and Kid, 2005, mixed media

Sam Kaai
Our songs and stories were becoming misappropriated, getting to be 'hapa haole'. We were losing the ability to think in Hawaiian
terms and concepts. Missing was the Maoli, the real things.

I made things because I had a need for them ... We look back to look forward ... When you work with the ko'i, the adze, you're
shaping a new world out of kumu la'au, the trunk of the wood. But as you shape with the ko'i, you too are being shaped because
you are holding onto the handle. Your hand is also being shaped, and when you do this you're spirit is being shaped. You are
becoming aware of things that were, that can be, that should be.

Kulou, 1967, La'au (milo wood)
Kiha Lewa – (The clear voice in the heavens) 1974, whale tooth
Pahu Mo'o Ka'ao (The ancient murmur and eternal song) 2003, 50th anniversary of the Korean War La'au (Milo wood)

Jan Kasprzycki
Artistic endeavors were appreciated and promoted in my family. Mom took me to Saturday art classes at Otis, Chouinard and
Pasadena Art Institutes. I’ve never forgotten the scent of oil paint and varnish in the art supply stores of those schools.

My self portrait was done when I was 19 while working for my bachelor degree in advertising and illustration at the Art Center
School of Design. After graduation, I spent my life in the fast lane of the design and graphics world in Los Angeles. I left my
design business in California and moved to Maui in 1976.

The screen, “Spring Roses”, was created in 1983 by both my brother Paul, who did the woodwork, and myself. We collaborated on
six such screens together in the 80’s.
I’ve been fascinated with nature’s beauty, design and elaborate use of color. My life’s work has been to harness this natural
beauty and to create works of art that transfer nature’s “energy” to my canvases.

Self Portrait, 1961, oil on canvas
Spring Roses, 1983, oil on canvas with Koa wood
Exotica, 2007, oil on canvas
Pat Masumoto
Four Years Old In Lahaina
I hid under
kitchen counters, desks, conference tables
and drew pictures.
Dad’s buddies bought my Sketches
with shiny coins.
Candies! Trinkets!
The Birth of a Career

Christmas Presents
I did “Mom and Dad”
(Did Patty put flour in Mama’s makeup?)

graduate school
a business briefcase
car payments
house payments
serve the community
I Got Sick
and painted a rebellious woman
“Going Barefoot In The Cold”
I Got Well
Now I’m A Kid Again
laughing, singing, writing
painting whatever I choose
even a magical “Soul”
Mom and Dad, 1957 oil on canvas
Going Barefoot in the Cold, 1996, oil on canvas
Soul, 2007, triptych acrylic on canvas

Jacob Mau
Jacob was born in Kaupo, Maui in a traditional Hawaiian lifestyle, raised by his grandparents at Kaupo Ranch and later moving to
Haiku with his parents. He was an enforcement officer for the Department of Land and Natural Resources, surrounded by the
beauty of the island and decided to take a photography class at MCC from Darrell Orwig. His hobby of photographing native
Hawaiian plants and tropical flowers became a passion. His current work focuses on native Hawaiian people and herbal medicinal

Ko`olau Rain Forest, 1975, photograph
Kalo in Keanae, 1985, photograph
Jacob in Ukumehame, 1996, photograph

Brian Miller
Photography has provided me with a quick way to graphically respond to my environment. My assemblage is a continuing
exploration of the relation between man and nature. The layering of the images and objects in the assemblage provide a context, a
narrative by which to read the work.
Chemistry used to produce the images is used in the formation of the assemblage structure- a personal response to minimize the
polluting effects of producing artwork in general.

Horsing Around, 1971, cyanotype on cloth
Black and White, 1986 photo chemical assemblage
Passage, 2006, photo assemblage

Dick Nelson
Hawaii has been my home since I was five years old. The influences of the land, its people and culture have undoubtedly shaped
my aesthetic values and perceptions, both intuitively and consciously.

My earlier interest in painting the particulars of an island scene has given way to more personal interpretations dictated by visual;
not verbal or conceptual ideas. Color, form, surface and space develop without preconception, evolving much as a conversation,
where one thought plays off another.

Portrait of My Son, 1963, pastel
Nolu Ehu (softened by mist), 1993, tri-hue watercolor
Fading Facades, 2007, tri- hue watercolor

Darrell Orwig
I was born and raised in small town rural regions of the Pacific North West. There seemed to be something in my genetic makeup
that compelled me to make art. Perhaps since I could draw, it brought attention and respect from other kids and adults. Besides, I
was lousy at sports.

Everybody liked that I could produce readable realistic images and nobody provided an alternative.

Then I made it into college. I met people with strongly differing points of view. I was introduced to the great masters of both
historical and contemporary art. I haven’t been the same since.

Self Portrait, 1969, oil on canvas
The Mysterious TV Sets of Kaena Point, 1976, pencil
New-Top Secret-The Flight of the Malolo 1944, 2007, mixed media

J.B. Rea
I'm a dreamer and a thing maker. An independent designer craftsman.
I fell in love with metal, its contribution to the human condition, and the tools and processes involved in working it. It has been a
dream living on beautiful Maui, being able to live a slow and comfortable life, to take the time needed to make the things I wanted
to, and to find the acceptance to be able to continue to share my love of the art.

First jewelry piece, 1960, silver & amazonite
Untitled Chalice, 1970, sterling silver
Dragon Fish, 2007, argentium & sterling silver

Piero Resta
 I want to arrive at the edge of the sky,
 to illuminate myself in the immensity of infinity,
 to listen to the melodious silence,
to bring presence from the golden landscapes…
that is my work as an artist.

Poetics of the Now Primitives, 1969, film
Amakua, 1987, redwood
The Ancient Future and Sunlight, 2007, acrylic

Phil Sabado
"What others term Mythology, I consider History" is the best way to encompass how Phil Sabado approaches his work. His early
art education began where he was raised on the island of Molokai as the youngest of nine children, his mother always put aside
enough money for colors and paper for the young artist.

What we see in these works is a passage in time from the first time he recorded a hula dancer in oil, to Keao, the fish spotter in the
village of Kepuhi on the west end in Kaluako'i on Molokai. In this recent work Sabado has come full circle, seeing himself in
another place and time, yet again immersed in Molokai waters, but as a being from the past, or is it the present?

Kalakapu (sacred sunshine), 1986, oil on canvas
Fish Spotter, 1990, oil on canvas
Past Present Future, 2007, oil on canvas

Tom Sewell
My first mentor was my brother Don. He taught me that life is art. Joseph Wright, the director of display at Dayton’s Department
Store showed me the amazing world of fashion, décor, color and style. I opened an art gallery in the 60’s in Minneapolis. There I
met two men who influenced me for the rest of my life, Marcel Duchamp and Basil Langston. Duchamp spent time with me
encouraging my erotic collages, calling them the “freshest thing he has seen in years.” He took one for himself and one to give to
Max Ernst. Basil Langston became a life long friend and mentor. He applauded my art and pointed me toward a world rich in
spiritual and artistic values. We maintained a magical forty-year correspondence.

Rapid Erotic Collage, 1964, mixed media
Dr. Saito’s Office, 1998, installation
Enigma of the Mill (small edition)2008, mixed media

John Shoemaker
I came to art relatively late in my life; therefore I've always thought that I have to work harder than others to make up for LOST
time. I want to always continue to investigate, experiment, push, risk.

Voices and Omens, 1993, flame cut steel etching
Light of the Shadow, 2001, monotype
Ancient Signs From the Village of Man, 2007,
mixed media

Bjorn Skrimstad
My life as an artist began as an 8 year old in an art class at the Minneapolis School of Art. I became a commercial artist in
advertising after schooling and did a stint in the U.S.Army. I worked in an ad agency/print company and design studio in the
Midwest and moved to Hawaii in 1968 as a graphic artist in advertising. My first taste of fine art was through several classes and
workshops at Hui No`eau Visual Arts Center. Ironically my venture into art as an 8 year old started with a face and my current work
shows the faces of friends and family.

Old Man, 1934, ceramic
Sumo Saimin, 1985, mixed media
Faces of Friends, 2007, mixed media

Sandy Vitarelli
My parents always encouraged my artwork. The first piece I remember was a colorful butterfly in second grade for which I won 1

I started making utilitarian pottery my junior year in high school. Today, 50 years later six children grown, 2 marriages come and
gone; and 12 beautiful grandchildren; I still enjoy making pottery that holds and enhances our food and lives. Pots you can hold in
your hands.

Twenty years ago I started making vase forms that reflect life in the pacific the plants, animals and people I carve into my pots let
me talk story and show my interpretation of daily life in the pacific where I grew up and have lived for 55 years.

Cups, 1970-2007, stoneware
Ho`okipa Guys, 1985, stoneware
In Tune, 2007, stoneware

Tony Walholm
“In the Delta, the Lines are Down”, painted in the mid 70’s, is one of my first abstract paintings. This marks the beginning of my
search for an authentic abstract voice and my desire to explore themes of myth, history and consciousness.

Vessel #1 was a turning point for my work in my use of space, volume and color. My paintings became vessels of light and of

“Thou Art That” brings a return to the figure, now as a body of light. Light and vessel are the same. The mediator becomes one
with the object of meditation. The vision goes deeper as I continue with this journey where illusion is stripped of its allure and truth
beckons one on.

In the Delta (The Lines Are Down) 1975, mixed media
Synergy in Orange, 1993-94, oil and alkyd on canvas
Thou Art that, 2007, oil and alkyd on canvas
Donnette-Gene Wilson
I was given a Kodak Brownie in 1950, and began photographing all that was intriguing. My subjects were found in nature, mostly
botanical, landscapes, and people. My earliest art, “Photo of a Young Girl”, won first prize in the Girl Scouts Magazine photo
contest in 1951 and became their magazine cover.
I photograph patterns, textures, reflections and shadows. Using poetic license, I interpret these design elements into my work.
This common thread appears in all my art. The 'mid career' piece, “Aloha to Mom”, represents 35 years' work in fiber.
I enjoy sharing my translations of the visual with my viewers.

Photo of a Young Girl, 1951, photography
Aloha to Mom, 1989, batik
Croton, 2007, watercolor

Jay Wilson
Admonished by my third grade teacher for sketching in my notebook, I began drawing in the margins, a practice I continued
through college. I took my first art courses as a college junior, among them, printmaking and weaving. Captivated by Rembrandt’s
paintings when I first saw them at the National Gallery as an eight grader, eventually I discovered that masterpieces can be found
in all art media. On my first rug buying trip to the American Southwest in 1975, I realized tapestry held great creative potential. In
1976, I left architecture to pursue weaving full-time. I purchased my first computer in 2001. Using a computer to create art, I’ve
learned more about the creative process in the past 6 years than in the preceding several decades.

Figure Study, 1967, etching
Noelani, 1981, hand-woven tapestry
Now, 2007, computer-generated art

Bill Worcester
Farmer. College Student. Telephone Lineman. School Teacher. Graduate School. Oceanographer.
1969- to present: Glassblower, sculptor.
 I strive to make highly crafted unique objects.

Black & Silver Puffer, 1973, blown glass
My Favorite Piece, 1981, blown glass
The Crucible, 2007, blown glass and stainless steel

Sally Worcester

My glass career began in 1970. If you had told me my life would have taken this direction a few years before that I would have
laughed right out loud. I feel very fortunate to be involved in glass and to have the support of my family. It almost seems like a
dream. Lucky me.
Good thing I did not know.

Waves, 1976, blown glass
Poppies, 1986, blown and sandblasted glass
Joy Full, 2007, hand blown and sandblasted glass

Shige Yamada
I received an art degree in 1955. Like many artists, I am a nonconformist. In my thirties I realized my creative efforts in art were
fueled by a desire to gain a deeper understanding of myself. This led to a major shift in self-perception. A dormant part of my mind
awakened. I recognized the value of human imagination and became determined to nurture my creativity in order to evolve as an
artist. Pursuing my interests regardless of prevailing conventions has become a way of life. My sculptures, paintings, prints and
drawings reflect an abiding interest in the mysteries of life: the human psyche, dreams, enlightenment, and the cycle of birth, death
and rebirth.

Bullfight, 1956, watercolor and ink
Endymion, 1988, watercolor
An Empty Nest, 2007, computer-generated art

Sidney Yee
The “Thing” is my very first attempt at making a closed form vessel inspired by Toshiko Takaezu. I worked with clay for 20 years
and eventually made better closed form vessels.

While on sabbatical leave from teaching I began to explore context and layering of collage materials and acrylic mediums in
painting. The subject of “Chinatown Meat Market” is about my culture.

“My Father Liked Fishing” is my latest work. It is a tribute to my father who passed away at this time last year. The concrete
columns and flying fish, symbolize the physical transition into the spiritual. I like making personal statements. It is all I can do to
make art meaningful. We all have our own story, we all tell it in different ways; and the understanding is always there.

Thing, 1968, stoneware
Chinatown Meat Market, 1996, acrylic & paper
My Father Liked Fishing, 2007, acrylic on canvas

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