Art On Campus

Mai ka Mea Hana Ka’ike, From Tools Comes Knowledge

Mark Kaulana Watson

Hawaiian Basalt Stone,1987
Kauila Building

Spirit Way

Sean Browne

Sheet Bronze
Iliahi and Parking Lot B

The idea for "Spirit Way", has its roots in the "porta" that marks the entryway to the Italian city and the "torii", the gateway to the Japanese Shinto shrine. All three are intended to engage and raise the awareness level of the participant who passes from the outside world into the womb.

Sean Browne teaches sculpture at KCC in the art department. "My work involves the discovery and use of archetype symbols to re-define our links to the past. The discovery of these universal symbols with fresh eyes, need not be immediate, as recognition often comes with the passage of time. With this in mind, I strive to create work that will endure through time."

All One

Kate Pond

Gift From ASKCC, 2002
Makai/Ewa entrance to campus

All One encloses a time capsule that was dedicated in 2002. The time capsule is filled with artwork by young people from the four sculpture sites in Japan, Norway, Canada and the USA and will open in November 2015. The sculpture faces east. In November the Makali'i (Pleiades) rise as the sun sets, announcing the start of the Makahiki in ancient Hawaii. The stones on the grass document the two times of the year in May and July when the sun is directly overhead.

Succulent and Cactus Garden

Momoru Sato and Bill Jones

On Loan from The Contemporary Museum, 1989
Cactus Garden

Hawai'i Hawai'i

Erica Karawina

Faceted Glass Mural, 1988

Erica Karawina has blessed Hawai‘i with splendid works in stained glass, using both conventional thin leaded glass and the more contemporary thin leaded glass dalle de verre—stunning in purity and brilliance of color. The artist uses dalles (inch-thick slabs of glass), fashions a design, saws the glass into shapes, and taps them with a hammer to create facets that capture and diffuse rays of light. After setting the pieces in place, she pours epoxy carefully between them to cast the panel in permanent form. Once Karawina discovered dalle de verre, she had found her medium. “Now I literally paint with light,” she has said. Whether in small stand-alone pieces or massive architectural walls and windows that must be hoisted into place with cranes, her creations radiate. Her more monumental windows and mural walls grace houses of worship and public buildings throughout the state.

But long before Karawina tried her hand at glass, she worked in many other media from the time she could first clutch a crayon. Born in Germany ninety-five years ago, she was fortunate in having parents who took her to the great galleries and cathedrals of Europe and arranged for her to be tutored in painting. From her early excursions in Europe she came to love the work of the stained-glass artists of the early Gothic cathedrals, the Byzantine mosaicists and painters of icons, and the Italian primitive painters—all of whom have shaped her vision, both in watercolor and in glass.

She considers her greatest achievements to be two huge projects, each consuming three years of work: first the four gigantic glass mosaic murals, representing morning, noon, afternoon, and night, at Kalanimoku, the state office building on Punchbowl Street across from the Capitol, and then the magnificent fifteen-ton glass mosaic skylight, Kapa Lele O Hawai‘i (Flying Tapa of Hawai‘i), glowing with daylight sixty feet above the atrium floor of Ka’ahumanu Hale, the circuit court building at Puchbowl and Halekauwila.

Pohaku O Le'ahi

Lucille Baldwin Cooper

Ceramics / Water, 1984

Pohaku (Rocks) play an important part in the history and legends of Hawaii. In our islands, stacked rocks can be found near trails to show the traveler the way. The direction. This trio of stacked pohaku was created as a symbol of direction and will stand at Kapi`olani Community College as a trailmarker to inspire, to guide and to embody the spirit of Hawai'i.

Lucille Baldwin Cooper was born in Shanghai, China in 1923, has lived in Hawaii since 1947, and was the recipient of the Koa Gallery's 1994 Koa Award.


Mamoru Sato

Fiberglass, Steel, 1973