AIRIELLE with friend and artist MARLY STONE 2002- In Maui Meadows

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MAMA PRESENTS…AIRIELLE’S WORLD—Airielle Pearson with friend and artist MARLY STONE 2002- In Maui Meadows on Maui, Hawaii, Airielle spends an afternoon at the house of her friend, gifted multi-medium artist Marly Stone. Marly walks through her home and speaks about her work, Marly has passed away, and this tape is part of a treasured collection of video showing her and her work.

1. 1. 1. 1. [02:57 → 06:06] Introduction and Background of Marly Stone

• Marly Stone, an artist originally from Hawaii, is featured as a local artist with extensive experience.
• Marly has lived in Wales for two years but has spent considerable time there over many years, often residing for 3-4 months at a time.
• Marly discusses the cultural connection between Hawaii and Wales and expresses a strong emotional and spiritual bond with both places.
• She began her career as a painter, expanded into photography and sculpture over 30 years, and has recently returned to painting, feeling inspired by Welsh and Hawaiian cultures.
• Introduction to Marly’s work includes paintings, sculptures, and photography, highlighting her multidisciplinary talent.

Key insights:

• Marly’s art reflects a deep cultural and spiritual connection.
• Her work spans multiple media: painting, sculpture, and photography.
• The artist’s return to painting feels like a natural and timely evolution inspired by her environment.

1. 1. 1. 1. [06:06 → 11:53] Artistic Themes and Specific Works

• Marly introduces some key works, including a painting named “Innocence”, which features an eg (possibly egg) symbolizing beginnings and primordial life—important motifs in her work.
• The artist explores themes of human connection, family, and roots, often reflecting her Hawaiian heritage.
• Marly discusses the incorporation of farming and agricultural motifs, linking her and her subjects to a farming background.
• She paints large-format portraits, emphasizing emotion and human experience, sometimes inspired by photography of foster children in Wales.
• Marly frequently uses symbols like eggs and roots to express ideas around life, growth, and cultural identity.
• The painting “The Bruja” is mentioned, which connects to a spiritual figure, possibly universal or cross-cultural, and is part of a Hawaiian series.

Key insights:

• Recurring motifs: eggs, roots, farming, family, and cultural heritage.
• Large-scale portraits convey deep emotional narratives.
• Marly integrates spiritual and ancestral themes with contemporary life.

1. 1. 1. 1. [12:21 → 20:02] Sculpture and Materiality

• Marly discusses her sculptural work, often using materials like Carrara marble, Italian alabaster, and British alabaster, which she polishes and shapes to create forms that feel primordial and tactile.
• She contrasts polished and raw surfaces to evoke a balance, likening it metaphorically to Ikebana (Japanese flower arranging).
• Sculptures include organic shapes inspired by nature and Hawaiian culture, such as masks and forms resembling shells or scallops.
• Marly also shares how she uses metal and bronze in her sculptures, experimenting with patinas and textures influenced by industrial processes.
• The artist reflects on her physical limitations, opting for smaller-scale sculptures that can be handled easily but combined into larger compositions.

Key insights:

• Use of natural stone and metal materials to evoke primordial and cultural symbolism.
• Balance of polished vs. raw textures in sculptures to create visual and tactile contrast.
• Sculptural work complements her painting by extending her thematic concerns into three dimensions.

1. 1. 1. 1. [20:02 → 30:55] Photography and Artistic Process

• Marly photographs subjects in natural and studio settings, capturing candid and intimate moments, often related to farming communities or cultural gatherings.
• She talks about a series of photographs taken in Pietra Santa, Italy, where she documented young sculptors dusted with marble dust, exploring the boundary between reality and artifice.
• The triptych form is highlighted as a method Marly uses to weave historical and contemporary narratives in her art.
• The artist reflects on her inspiration from moments of daily life, as well as deeper spiritual and ecological concerns, particularly the Hawaiian worldview of caring for the land (“Aina”).
• Marly notes the importance of emotion in her paintings, emphasizing that the process can be fast or slow but must convey feeling.
• She discusses the Hawaiian concept of “aloha”, which influences the themes of her work about connection, respect, and harmony with nature and others.

Key insights:

• Photography is used both as documentation and as a starting point for paintings and sculptures.
• Art is a bridge between historical traditions and contemporary life.
• Ecological and spiritual themes are central, especially Hawaiian respect for the land.

1. 1. 1. 1. [31:24 → 42:47] Cultural Roots and Symbolism in Paintings

• Marly emphasizes the importance of roots—both literal and metaphorical—in her work, exploring how family, land, and cultural identity intertwine.
• She paints Hawaiian figures with a romantic yet realistic portrayal, imbuing them with strength and tenderness.
• Her use of color is intuitive, often adding subtle hues in places like hair that are not visible from afar but enrich the emotional texture.
• Symbols like heliconia (a tropical flower) and hibiscusappear throughout her paintings, linking to Hawaiian flora and cultural identity.
• Marly discusses how her portraits often combine multiple photographic references into composite images that evoke trust and complexity in her subjects.

Key insights:

• Strong focus on cultural heritage, identity, and the connection between people and nature.
• Use of vibrant, nuanced color to convey emotion beyond surface appearance.
• Symbolism from Hawaiian natural and cultural motifs is central to her imagery.

1. 1. 1. 1. [42:47 → 50:48] Artistic Technique and Emotional Expression

• Marly reflects on her painting technique, balancing speed and detail to capture emotional depth.
• Some paintings are completed in hours, others over months, but the emotional connection remains the driver.
• She values the “sketchiness” or spontaneity in some works, seeing it as an expression of passion and immediacy.
• The artist discusses how her work is received differently by viewers, highlighting the subjective nature of interpreting art.
• She also references her admiration for Van Gogh’s technique, striving to incorporate emotional intensity and dynamic brushwork into her own paintings.

Key insights:

• Emotional impact is prioritized over technical perfection or time spent.
• Spontaneity and passion are embraced as vital aspects of the creative process.
• Marly draws inspiration from art history to enrich her personal style.

1. 1. 1. 1. [50:48 → 55:51] Reflection on Career and Cultural Dialogue

• Marly has worked in photography for over 20 years, with works held in museums and exhibitions in major cities worldwide.
• She values the dialogue between Hawaiian and Welsh cultures, aiming to honor Hawaiian traditions through her art in Wales.
• The artist expresses hope that her work provokes thought and emotion in viewers, aspiring to communicate universal human experiences.
• Marly acknowledges the support and inspiration from her family and community throughout her artistic journey.

Key insights:

• Marly’s career spans multiple disciplines and international recognition.
• Her work functions as a cultural bridge, fostering understanding and appreciation between different peoples.
• Emotional resonance and cultural storytelling are fundamental goals.

1. 1. 1. 1. [55:51 → 56:19] Closing Remarks

• Marly expresses gratitude for the opportunity to share her work and connect with viewers.
• The atmosphere is warm and friendly, ending with a light moment involving her dog Wolfie.

1. 1. 1. Timeline of Key Topics

Timestamp	Topic/Activity	Key Points
02:57 – 06:06	Introduction and background	Marly’s cultural roots, return to painting, media mix
06:06 – 11:53	Artistic themes and specific paintings	Primordial motifs: eggs, roots, innocence, cultural identity
12:21 – 20:02	Sculpture and materiality	Use of marble, alabaster, metal; polished vs. raw surfaces
20:02 – 30:55	Photography and artistic process	Documenting sculptors, triptychs, Hawaiian ecological themes
31:24 – 42:47	Cultural roots and symbolism in paintings	Hawaiian flora, intimate portraits, use of color symbolism
42:47 – 50:48	Artistic technique and emotional expression	Speed vs. detail, spontaneity, Van Gogh influence
50:48 – 55:51	Career reflection and cultural dialogue	International exhibitions, cultural bridging, emotional intent
55:51 – 56:19	Closing remarks	Gratitude and lighthearted conclusion

Key Themes and Concepts

Term/Concept	Definition/Explanation
Innocence	A painting symbolizing beginnings, often using the egg motif to represent primordial life and birth.
The Bruja	A spiritual figure in Marly’s work, possibly universal, reflecting cross-cultural spiritual themes.
Aina	Hawaiian term for the land, representing the deep connection and respect Hawaiians have for nature.
Ikebana	Japanese flower arranging; metaphor used to describe balance in sculptures between polished and raw parts.
Triptych	An artwork made of three panels, used by Marly to explore history and narrative through combined images.
Heliconia / Hibiscus	Tropical flowers used as symbolic motifs in paintings, representing Hawaiian cultural identity.
Unisex	Concept of gender neutrality reflected in some portraits.
Patina	Surface finish on sculptures, achieved through chemical or natural aging processes, adding texture and color.

Key Insights and Conclusions

• Marly Stone’s art is deeply rooted in her Hawaiian heritage and experiences living in Wales, creating a unique cultural synthesis.
• Her multidisciplinary approach blends painting, sculpture, and photography, each medium enriching the others.
• Recurring motifs such as eggs, roots, and Hawaiian flora serve as powerful symbols of life, identity, and connection.
• Emotional expression and spiritual themes are central, with an emphasis on human experience, ecological respect, and cultural storytelling.
• Marly’s technical practice balances careful detail and spontaneous execution, inspired by masters like Van Gogh but distinctly personal.
• Her work fosters cross-cultural dialogue, inviting viewers to reflect on universal themes of belonging, care, and creativity.

1. 1. 1. Summary

This video features a comprehensive and intimate interview with Marly Stone, an accomplished Hawaiian artist living in Wales. Marly shares insights into her artistic journey over 30 years, her return to painting, and her work in sculpture and photography. Her art is a profound exploration of cultural roots, human emotion, and spiritual connection, blending Hawaiian motifs with her experiences in Wales. She discusses specific works that embody themes of innocence, family, ecological respect, and identity, often using symbolic elements such as eggs, roots, and tropical flowers. Marly also reflects on her creative process, emphasizing emotion and spontaneity, and draws on art historical influences to inform her style. Throughout, her art serves as a bridge between cultures and generations, offering viewers a rich, layered experience grounded in personal history and universal human themes. The conversation concludes warmly, highlighting Marly’s gratitude and the joy she finds in sharing her work.

Transcript

02:57

Hey there! Welcome to another awesome day with Mama Presents.

03:05

Today, we’re bringing you some amazing, awesome food from a local artist who’s got tons of experience and so much to share with us. You’re gonna love it. It’s fantastic. Plus, she’s a really good friend of mine. And with us today is Marly Stone.

03:28

So, thanks, Marly. Well, thanks a lot. Thanks to everyone in Maui. I love being here in Wales, and I love being on this lovely show with you all. Thanks. Well, you’ve been living here in Wales for two years now, but I haven’t spent much time here in those two years. I’ve been coming here for many years though, usually spending three or four months at a time, so I’ve been here for quite a while overall.

03:57

By the way, the word for me has been here for a long time. Yeah, I think a lot of us have been here. The word for us is here in a big way. Yeah, and the word for me has been here in a way to really start doing work about the place, with urgency. I feel like Gauguin has come to the right place to bring the right work that seems to my families.

04:23

It’s interesting, you know, when I look at your paintings and you say they’re your work, they don’t really look like work to me. Well, it’s my life. They’re so luxurious, but I can’t quite grasp it, I don’t connect work with appearance, but I understand your work and your life, and you’re really good. Thank you very much. You’re really good. It’s fun to be painting again.

04:50

I started out as a painter, then over the past 30 years I got into photography and sculpting, and being back to painting now just feels really right. I think the culture of Wales, the Hawaiian culture, chose me to work again. So yeah, there’s definitely a lot of inspiration here. The people are really lovely, and I’m deeply moved by the culture.

05:18

I’m hoping a bit. And there I am, Wolfie. Hey, Wolfie. Thanks for adding us. It’s about the culture too. It’s about it. It’s about the work I’m talking about. I’m about your work. It’s about your work. It’s about your work. It’s about your work. It’s about your work.

05:39

A few pointing functions, extra functions, and whatever else it might have. Does it work fully? Yeah, it works fully, it really does. It’s 7 months old, but it’s still a kid. A good kid. Well, we’re gonna take you on for a great day, and we’re gonna show you some of the coolest work in sculpture and photography, so let’s get this thing started.

06:06

First off, before we head into your studio and check out your paintings, Marly, how about we take a walk around the tower? I’ve seen some really cool stuff—sculptures and photography. Can we do that? What do you think, Ariel? I think that’s a great idea. Let’s do it. Let’s go. Okay. You paint amazing men. You paint them and make them look even more awesome. That’s really interesting. Well, thanks.

06:34

11 or 12 years old, and I really like that time. I like painting that period of my life. It’s a very special thing. It’s called Innocence. Innocence. Yeah. With the egg. Yeah. The egg also represents Innocence. Also, I started painting this painting.

06:52

When I first came here, it was all about searching. It’s about a lot of things. It’s about the Hawaiian people giving their success to the Food Man. And it’s also about Hawaiians searching for me. These are my embryos, the beginning of my life here in Wales. Oh, it’s lovely. And I really like the egg. I’ve used it in a lot of my sculptures too. It’s a primal way. It’s the start, the tribe of everyone. It’s interesting because I’m not…

07:21

You’re doing that, I don’t do much but teenagers often show up in my pictures. Yeah? Yeah. That’s because you’re farmers. I think both of you are farmers, right? Yeah, we are farmers. Yeah, we’re farmers. Yeah, we’re farmers. Yeah, we’re farmers. We’re farmers. We’re farmers. We’re farmers. We’re farmers. We’re farmers. We are.

07:51

Honestly, I painted this because I saw, in other programs, a photo that big of the whole family, and this guy was one of them, and his face was maybe that big. I was really focused on his face and I like painting things in a big format. That’s huge! His face was so rough to me, I wanted to capture it, but I also knew I didn’t really understand it.

08:20

I think, when I was young, I thought she was writing, but now I don’t think she is. No. I can feel what you’re saying. Because when you’re young, you look at that and, since it’s long, you think it’s writing. I think there’s some truth to that. There’s definitely a part of it, that’s true. But he has visions. I think she’s actually writing for the next life. She looks like she is.

08:49

That’s awesome. Sometimes I stand on stuff to reach the top of the canvas. I had done a 15,000-cubic-meter mural in Wales. At Union School Wales, I did the whole presentation. I was working on scaffolding.

09:09

I like that. I really like working. I was about to say that. I like the fact that it’s part of a big setting. When I look at it, I think of something much bigger in scale. It’s such an amazing part. Thanks. You said it’s being watched? I think it’s being watched because she’s lived. She’s really lived, and like everyone who’s lived, she’s experienced a lot.

09:37

A mix of fun and trauma. I’m not sure if trauma’s the right word, but it’s one of those things. Yeah, it’s an experience. An experience, writing, writing, but I didn’t know all that when I did the painting. Now, I know way more about what she’s seen and what she’ll see in the future. Does she have a name? The Bruja. The Bruja. Bruja is Spanish, which means “witch.”

10:07

The people of Wales, but I think she could be someone from anywhere in the world, and I really like that. I think she could fit into the Hawaii series, and maybe it could work well too. Well, we’re going to look into that, and thanks for showing that. This was saying, because we’re going through the house, I can’t stop and admire all the great work. I know, I have to, I just can’t stop thinking about it, because…

10:31

We’re talking about the quality of this painting and this kind of quality from the big stuff Marly likes working on. It’s really small. I realize how small I am, not because she’s taller—I’m not that tall either. Well, it’s kinda like Robert Redford. Everyone says, “I’ve met Robert Redford,” and he’s not this huge guy like Sylvester Stallone. These ones are pretty average.

10:58

You’re not even from that time period. You’re all perfect. Thanks. That’s really interesting. Thanks for sharing with us. I was photographing these kids connected to the farm, which is in Wales. And it’s a place where kids can go and get foster adoptions in the area. So, I was photographing all the young guys they have who are really important. And this one is really lovely and well taken.

11:27

It was really interesting, so I painted on it a bit. It’s very interesting. It’s also really interesting. Yeah, it’s definitely really interesting. We can pick that path and choose it there. I’m hopeful for that future that’s as lovely as this picture, and I hope it can come true.

11:53

It’s actually a great school. Life’s pretty personal for you, huh? Definitely. I’m really inspired by human emotion, so life isn’t really what I like to do. But that brings a bit of emotion, it’s kinda overwhelming. I get a bit emotional dealing with the straws. It’s urgent. The straws and the shirts. What about you, Ariel? Everything feels urgent to me. Yeah.

12:21

The fruit looks like you’d want to really dive into it. Oh, that’s diving in. But it looks happy. It’s happy? Yeah, it’s really happy. It feels like it’s really happy to be there. I think volunteering makes you feel happy too. I volunteer a lot. Volunteering is really important to me, volunteering, volunteering, volunteering, volunteering, volunteering, volunteering, volunteering, volunteering.

12:50

That’s a lovely way to keep things up. You know, I’m standing here, thinking, just look at this amazing place. You’ve got a fantastic building. Thanks for letting us come and share it with you. Oh, thank you. That picture here was a small Carrara marble piece, and they had the picture of it being made through the painting, so I used it. I like it, it looks like a mask. Yeah. Oh, it’s big. It’s big. It’s a mask example. It’s lovely.

13:18

And even though it was a light role, I still liked it, so I polished it. It’s lovely. I thought it held up really well. It holds up really well. It’s really light. It looks like a cushion. Do you look like a machine? Oh, yeah. And I like, in my sculptures, having one part that’s highly polished and another part that’s left raw. It’s kind of like an Ikebana arrangement.

13:45

Great. It’s really great. Thanks. And is this also your work, the photograph? Yes, it is. This picture here is called the Spirit Council, and I went to Idalea three years ago where I made a sculpture in a place called Pietra Santa, which means open stone, a place…

14:10

Anyway, all the artists from around the world come to work there, and the leaders are doing their thing. For example, there are sculptors in the studios where you work. So, I chose to focus on reality and brought these young sculptors into the studios. I covered them with marble dust, and for two years, I photographed them in the studios.

14:39

The question was, what’s true and what’s not? And what’s not? Also, that triptych idea, the way it’s done, honestly, I’ve tried to recreate history too, kind of like art history. So, if you look at… This is a great model. Is this a real person? I’m sure it is. She is, and she was the best model I had. I didn’t have to say anything to him. With most models, I say, alright, smile.

15:08

In her case, she was a really great part of the project. She feels like she belongs there. That picture from the series has at least 30 shots. There are six triptychs and lots of individual photos, plus a really complex one at the back. Maybe you’ll take a look at it later. I really liked that series. I enjoyed doing it a lot. It was awesome when we were in Pietra Santa. I had my crew with me.

15:36

I had three sources, and we were relying on the men with the dead men until we found them in the pictures I had collected. People in this human world are looking at this. It must have been really big. It was interesting, actually quite interesting. That was back in 1981, I think, and here’s the picture.

16:02

I actually had a tough time with this piece. It all began when I saw this in Soho, New York. It said, “I watch through you, Jesus.” Kind of a provocative thought to me. Then I met this woman whose husband used to sell sunglasses. She asked, “Do you know anyone who wants all of last year’s samples for some reason?” I said, “Yeah, I do.”

16:31

A great idea. An idea related to that. And then, my son is an artist in Wales and he was selling school comments on the street to make a living. So, I was there with him, photographing these people, these two. I like that she’s got a cross on her earrings, and I think he’s a god. He looks like my son’s farmer. He looks like a Jewish farmer, I think. And the comments in it show up on lots of school comments. Oh, that’s it.

17:01

Here’s another one of my artworks. These are real photos I took in Wales when I was there. Actually, these are pictures of the Vatican that I took. And this is a special frisbee from Wales. These are from a cemetery in Wales. And this is a young guy who’s one of their special artists in Wales when I was there.

17:31

I’ve always liked those late 14th-century assemblages you see in all the museums around Wales. I was trying to express my experience in a fresh way, using sculpture and the choices I make, which means focusing on what’s real—the people, the sculpture. The frame? Did you make that too? Yeah. You did? Yeah.

17:57

Isn’t it amazing? I was doing a lot of framing of the work. I was told about the frames as well as the work, because when someone else puts a frame on it, it’s just a frame, but when you put it on, it becomes an integral part of the work. Awesome. Awesome. This work is really interesting. Awesome. It’s not a scale, it’s a squat.

18:26

It’s alabaster, alabaster. I mean, people think this is real alabaster. This is Italian alabaster. It’s a really lovely alabaster. It’s translucent. It looks like alabaster, doesn’t it? It looks like alabaster, doesn’t it? It looks like alabaster, doesn’t it? It looks like alabaster, doesn’t it? It looks like alabaster, doesn’t it? It looks like alabaster, doesn’t it? It looks like alabaster, doesn’t it? It looks like alabaster, doesn’t it? It looks like alabaster, doesn’t it? It looks like alabaster, doesn’t it?

18:48

Like scallop. Yeah, like scallop, and I’ve polished the inside a lot to make it pretty smooth. And this is another piece of alabaster from the United Kingdom, really. But I think this is something really primordial. It’s a really lovely thing, I think. And also, this is the start of everything. Wow.

19:13

I like working when I’m making sculptures out of things because I’m a small person and I like to work big. But I can’t make big things and move them around. So, I put them together. Has this been forgotten here? No, it’s been taught, and that’s what I’ve learned to do. That means you’ll go through the floor in the first thing and the floor in the middle thing, and then you put it together.

19:36

Some kind of metal or… They make pictures that include images of sculptures instead. It’s lovely. It’s really lovely. You’ll see this in person. It’s lovely. We’re going to the house with the sculpture. Wolfie’s here. Hey, Wolfie. We know you’re big cows with amazing cattle. And lots of…

20:02

C-c-c-courage. C-c-c-courage. It does that too, it’s got a lot of value. That’s really good, Marly. Looks like it’s part of the tree. Yeah, probably the best place he could’ve lived. He’s living pretty well. I might even have taken the tree down, but the work looks really good in its own way. But yeah, this one’s almost copper. This is work that’s used with almost.

20:31

So I made this interesting effect at the top by putting a plastic sheet over the artwork before it dried, and it turned out really well. Even the flashes that come with all the bronzing you do—like you can see the work being pulled from the surface onto the floor—that happens with every bronzing. Then you write these down, but I didn’t do that with this piece because the name of this work is split through.

20:57

She looks like you. Oh, it’s me. Is it you? Yeah, I used my shoes. Did you cover your face? No, no, I stayed cozy, or I built it cozy. But, yeah, I did, I did, I was back. There was no one there for me to do it without me, so I did it. So, you’re sharing it? I hope so. I think that’s kind of a human thing, trying to share it with the school.

21:27

We’re all working towards that in our lives. That would be great. Well, here’s the fossil picture, and I have three pictures. These are the last three sculptures I’ve made, and I was really interested in the idea of food. Food is the starting point for everyone. Yeah, it’s all about the idea of food. I’ve used that theme in these two other pictures too, and they’re all connected.

21:56

It’s like the very first start for everyone. So, you can think of it like sperm, food, you know, the very first beginning for everyone, or you can think of it as the food, the first point that hits the first point, or whatever. Actually, the rest of the work is just point after point after point after point after point after point after point after point after point after point after point after point after point after point after point after point after point after point after point after point after point after point after point after point after point after point after point after point after point after point after point after point after point after point after point after point food.

22:24

Honestly, to me, it looks human. They look like… They don’t really look human to me, let’s put it that way. That’s good, hopefully that’s true. How does that look human? You’re original. I think that’s really important. I see that, but there are definitely human things in there. I like that from behind too, and this doesn’t look like a human farm. It looks like it would go to the Welsh Pacific or something.

22:54

It’s likely. It’s likely, it gives that feeling. It’s likely, it’s likely. It’s likely, it’s likely. It’s likely, it’s likely. It’s likely, it’s likely. It’s likely, it’s likely. It’s likely, it’s likely. It’s likely, it’s likely. It’s likely, it’s likely. It’s likely, it’s likely. It’s likely, it’s likely. It’s likely, it’s likely. It’s likely, it’s likely. It’s likely, it’s like…

23:24

You know how I like it, even though we can’t see it that way, but it’s really nice to look at too. Why can’t we? It’s the magic of TV. Look, that’s a good standard. That’s from the start. Isn’t that an interesting standard? Yeah. It looks totally different. A holiday sculpture. A holiday sculpture. What’s that? Is that water being pulled? That’s really impressive. Thanks. Oh, that’s a holiday sculpture. I made it myself.

23:54

The artist, that’s the name of this connection. Hey, artist. They’ve got everything they need for creativity. These are my experiences I’ve gathered. You can see. Young experiences, but just mine, my experiences.

24:11

Not just my face. I was about to say, when that got shouted, I was like, what? Did you think it was a kid? I wasn’t buying it. It looks more like a man. That’s fine, I don’t really like that much. I like the idea that anything can be a man or a guy. What’s the word for that? Unisex. Unisex works.

24:32

That’ll work, Ariel. Now, this is spiritual. Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual? Spiritual?

25:00

I’m saying, that looks like a wireless cable. And that’s it. I’m not sure what this work is, but it’s really important. I liked the patina on it. I was working on making the patinas. This one is off. It’s off the network. I think this work is the main job. There was a place in Wales that had… It was off for metal courts, and they went through it to get through. I was going to go, go, go, go, go.

25:30

I bet? I walk into the damp place and it takes years. Well, it wasn’t damp. It was a place that’s been used. I’m going into the damp. I recognize your parts. Yeah, the little parts. Yeah. Well, this is really amazing. What inspired you to do something like this? I think this is really…

25:53

Well, I’d done this other thing called Metal Patient, I’d found some cool ways, and I also broke away and got involved, did it all the way from getting gigs, metal stuff and everything, and it was also on the side, so it took off, so it was perfect, this way was a cool way, so that was the first thing. And then I went on to do Farmer.

26:17

Using the face of my adult work friend, who was setting up, and he was sitting in an adult work organization for me, and he was being pushed, he was being pushed, he was being pushed, he was being pushed, he was being pushed, he was being pushed, he was being pushed, he was being pushed, he was being pushed, he was being pushed, he was being pushed, he was being pushed, he was being pushed.

26:43

This is a fossil excavation, and I’ve learned it’s a primordial fossil. It’s interesting to me because this series shows the beginning of things. The important part here is the mother and the children. Honestly, if you think about it. But I also like this because, when you look through it, it frames the world in a special way. Oh yeah, it’s true. So, we watched this sunset through it last week. It was really beautiful.

27:14

Life likes it too. And sometimes, you can see life happening right here. It’s really interesting. It creates its own friends. The animals know where the energy is. Yeah. Away from the energy, they move up. I’m grateful we got to go around, because when you see a lot of your painting, you wouldn’t think you’d get those amazing spots. Thanks for letting us go around. Thanks.

27:44

So let’s go check out your awesome studio. Alright, let’s go. C’mon! And now, let’s head into the studio. I’ve got a real fantasy, and that is… Yeah, what’s your fantasy? I think I’d like to collect.

28:10

And an artistic palette of great and lovely workers. Because something really interesting happens on a worker’s palette. Look at that. The palette is amazing to me. I’m quite a worker. Oh, not at all. Everyone’s different. They all have their own way and style. And this one has water behind it.

28:32

He’s trying to get something from down there. I don’t know what it is. I thought there’d be lots of different ways since it’s always outside. It’s moving on, it’s pretty good. It’s really good. It’s being taught to look at them from down below.

28:48

So even when the floor comes up and looks interesting, it’s not just about what the camera is doing, like every painter does. However, I’m not saying you’re inspired by the place. Especially, I find it interesting to put this Van Gogh scarf here. It’s a bit of my experience. It’s a Van Gogh scarf. It’s my experience with Van Gogh.

29:08

Because I had been studying and looking at a lot of Van Gogh’s work in Europe and in books, I was thinking about what caused the change between 1885 and ’89 when his paintings started to die out, and it was in the way he described the paintings—that’s when he began doing that. He started doing it during the individual paintings.

29:35

So I’ve been learning about that. It’s fantastic. It’s interesting. It’s lovely, what a great thing for people to realize about Van Gogh and to see it through your art. Because your art is unique and beautiful, but you’ve been able to share a technique from the Masters. Look at that. Isn’t it amazing, Van Gogh, but I’m trying to do what he did. The technique is important.

30:02

The most important thing to me and the paintings is the emotion. I worked on these paintings for six months to get the writing exactly how I wanted it, which is writing… Well, I’m waiting for the viewers to say what they think it’s about. But I feel like it’s…

30:27

I feel like this is writing about ecology, and it says to come if you mean it. And I think it’s writing a lot of Hawaiian ideas. I hope I’m not just talking about writing, but about how they feel about us, the other people here with their book, and how we treat their book. I believe if we really mean it, then we focus on coming together, and maybe with the aloha spirit that Hawaiians truly have.

30:55

A little about our show. Alright, Ariel? Because we are. We are mothers. Because we care about the earth too. And we care about Hawai‘i and appreciate our environment. That’s awesome. Taking care of the ‘Āina. Taking care of the ‘Āina. I hadn’t painted the earth before. I had been to these lands. I had taken photos. I had studied the land. Great. Let’s check out another one. Okay. I like this piece. And here it is.

31:24

I want to be part of this, the town and everything. It’s lovely. Isn’t it lovely? Something really lovely. Along with this, all of this. That’s what’s interesting. You’ve made these guys really interesting. You’ve filled them out. You’ve shown their struggles, but you’ve filled them out and added the romantic side to them. Sometimes when I see a guy like this, I feel like I’ve met this guy before.

31:54

I know she doesn’t really get it, but hopefully this is a role model, even for her. It’s lovely. Yeah, this picture is called Roots. Roots. And that’s something special about Hawaiian people too, how much they value their roots and how they write about them. Their family is part of their roots, and the land is part of their roots. There are two things I picked up on in these paintings. One was the root coming in and becoming part of her dress, like they do.

32:22

to become one of the things. And here’s the lead. Yeah, that’s it. And it’s lead lead lead lead lead lead lead lead lead lead lead lead lead lead lead lead lead lead lead.

32:52

Is this really culture, the culture of Hawaiian culture? Yeah, it is culture, and it has a lot going on… It’s culture, but shown in its own unique way. It’s really beautiful. I knew I wanted to photograph this guy, Loretta. The first thing I noticed, I found really interesting. I felt a strong connection to his compassion, and I saw his brilliance, his talent. I think he was actually portrayed like a demon.

33:21

So, I arranged to photograph her and the one around Inesant. Both of them had written to me in very different ways. So, I set a time and photographed both. I took pictures of them in lots of different places and poses. When I paint them, I paint different photos, different elements from different photos. And I think my people really feel connected to them.

33:51

Trust. And trustworthiness. He’s got a lot of trust, I think. Well, he’s got trust and pressure at the same time, yeah. She does that. Oh, it’s really important. And I like that about her. Yeah. And I think I kind of trust her in a way. And she looks like an important mango. Yeah, she does, doesn’t she? She’s got the books and all that stuff. Yeah. Do you want to see another one now? Yeah. Not that one.

34:21

So that’s another route from Hawaii, I think. This is the local path, and I believe this guy has a lot to think about. But it’s slow for me. He has some needs and a bit of farming. And he’s also human. I feel there’s a significant place in the farming and the needs.

34:50

It’s not something that worries me at all. It looks like… Isn’t that interesting? It looks big and powerful, and that’s really interesting. Yeah, that’s really interesting. Well, I think one of the things about paintings, and maybe my paintings in particular, is that everyone interprets them differently. So some people say, oh, it’s my way, and others really like it.

35:16

It’s probably true that one of the things that works best, but everyone has different friends. So, I like to think it’s about different stable possibilities from the people looking at them too. I like the books behind, the books down out of place. I’ve seen those different things, the gingers. To me, they’re gingers. The gingers, I find them interesting. I’ve spent a lot of time painting them.

35:45

I think Haliconia really trusts her. I like the flow. I like the color that comes through the flow. That’s really lovely. Thanks. I like the importance of the one symbol behind her part, the individuality. I like the color that comes through the flow. Thanks. I like the color that comes through the flow. Thanks. I like the color that comes through the flow. Thanks. I like the color that’s…

36:15

What’s this one? You know, I haven’t even named it yet. Got any ideas? I know it’s about the importance of the Hawaiian character. It looks really good and unique. And I think, and I hope, it’s featured on the arches, the different arches. So it’s really important and connected. Her expressions are really engaged, I think. She feels like the Aloha guy, with all of that.

36:43

Obviously, we named another one Aloha. Maybe I can call her Le. Le. Le. Le Aloha. Le Aloha. She’s really lovely. Yeah. She’s also really well-trained, don’t you think? That’s nice. That’s one of the lovely parts of the Hawaiian character, I think.

37:07

Is this one of the guys you… No, no. This is actually someone I want to connect with. I saw them at a festival, their son was making leaflets and handing them out, and I took photos. I was telling you about that. Yeah. And actually, this is how she looks over time, really. But I’ve painted her in another painting, which I’ll do next.

37:35

I’ve been working for 5 years, so I can use the same model because I do typings. I’m trying to take the basics, so I look at a face that shows the different types, and then I can change that. That’s great. That’s a choice for me. I like how you get that feeling in your books and your books. They feel to me like they’re something… Well, it’s really interesting.

38:04

So the question is where to leave this, like on what range. I’ve got this, what do they call it? Hackley. I’ve had this Hackley in way more developed and way less developed forms when I was learning it, and then had to decide how to choose or hack this. You can see this is really big in scope. It’s not developed at all because, to me, its surface relates to the most important thing. So what can I say to guide it?

38:34

Well, you kinda get the feeling of the books without making a big deal out of it. So, you said something at first that caught my interest as I saw you sharing. You think I haven’t grown, and I think it looks great, meaning it’s seen from below. Your style, and the variety you actually work with, they’re really interesting because they let the politician, you know, be seen from below. I’m sure this guy would…

39:04

You see that kind of thing around. Is it lovely? Is it lovely? Is it lovely? Is it lovely? Is it lovely?

39:33

It’s lovely to be working with you. Here it is again. But I think I’ve used it in this one. It’s been used over the years. This is its issue, of course. So, if you see this picture of yourself, ask Marly. And the rose is simply from the…

40:03

So, like the mum, this is called, it could be called Virgin. It’s about the mum continuing to carry on the journey. And in Hawaiian, the hula is a big part of the cultures and keeps being part of the community and their knowledge about their cultures. I feel really strongly, I feel really strongly about this painting, because I like that it shares its knowledge and ideas.

40:32

Supporting her amazing kids who are heading out there for the first time. Well, maybe not exactly the first time, but for a really important, starting phase. We’re up in the tower, so we’re seeing a whole different view of the roads. You’re painting in lots of ways—I can see all the roads and the different paths. Awesome. It shows lots of different ways. Another thing showing up is the orange roads.

41:01

It’s important, really important, really important, really important, and it’s lovely. And yeah, I’m genuinely interested in these. I always include them in my paintings. I don’t think I’ve ever done a painting without them. Because I feel, I don’t know, I think the importance and energy is obvious. And most of that is what I paint. And definitely, it’s flora. I think it’s hibiscus.

41:31

I love all the colors you put in the hair. You can’t really see them from far away, and honestly, I don’t even think about that. I just see the colors in the hair. People ask me how I come up with the colors, but I honestly don’t plan it. If I think it looks right, I add it in. I can’t imagine painting any other way. That’s why there’s so much color everywhere. Actually, she’s more controlled than some of the others.

42:01

She’s lovely. Thanks. That’s lovely. Thanks. Women always like this one, Jason. I don’t know why. I think it’s kind of the right timing. The right timing. We want to get there. And it’s really big even in real life. Yeah. She’s really lovely and trustworthy, and she goes through the books really well. Yeah, I think that’s really good.

42:28

It’s interesting, and in this picture, I’ve used this heliconia, which I’ve managed to grow. I know you might think you can’t grow heliconia. I’m not making paths, I’m trying to capture the idea of the paths, the farm with these paths. Well, the idea comes through. It’s lovely.

42:47

Thank you so much. Painting it was a lot of fun. It was really different when I first started. I didn’t think it was going to turn out like this. You could see the way forward over time, that way. She had something in front of her man. You could see her man. And I started working on it. That’s what it is, Marlene.

43:10

The women see that society through those lenses. I think that’s fair. I think that’s fair. Okay, these lenses here are actually the same truth. Right? Those lenses. Those lenses there. I can see it. Alright, alright. But these lenses are acrylic. Most of my work is…

43:33

I was trying to write because I was acting all stressed out and stuff, but then…

43:43

It was obviously done like this, but you can see it feels more like a sketch. I like it. It doesn’t feel great, but to me, it feels like a sketch. It’s not about the look. No, some people like it now, but I like the value of the look, and the passion behind it. Also, these paintings were done in two hours. Some of the paintings took six months.

44:09

I don’t think how long it takes is that important when it comes to whether… Well, this relates to me. Oh yeah, it’s pretty fun, actually. I find it fun. I’m trying, I’m exploring the idea that paintings have succeeded when they’ve succeeded, and that every painting will have a different degree of success or fading away, let’s say.

44:39

A new batch of paint. But when it’s done, it talks to me, and then it’s done. And I like the sketchy feel of this. This was done. That’s a great way to put it, Marly. Because I look at it and it looks good to me. It looks finished. Yeah, I think it’s done. It’s lovely. And some of the other paintings were done really quickly too, especially the ones where people were laughing.

45:03

For example, I don’t think I got this here, but the one that looks the most local and real, she was actually setting up for the painting and she was only 11 years old, so she was setting up for about 10 minutes and then I kept her coming back to the sea.

45:21

So the feeling took a long time to come through, and then I started working on it. I didn’t have a photo to work from for this. I really like this one. I said the load is… I know you get what I mean. I like the success in its layer. It’s starting to look like it has a heart.

45:42

Oh, I thought you said it kinda looked like cheese. Oh, it does look like cheese. Cheese, cheese. And she’s got her hair too. Honestly, I think it looks like cheese. Yeah, it really does. You know how it is when they’re backlit, and she definitely is. She’s really beautiful. That’s a great one. It looks like just a little blotch of color, but it’s actually a butterfly. Arielle, is that a piece of art you’re holding? Yeah, it is.

46:12

It’s really recommended to have Wolfie around when you’re working. Wolfie’s awesome. He’s just the usual thing we have in our lives. He likes everything I do. Well, I happen to have a great and regular guy. Zach’s here, but I’m pretty sure he’s here in spirit. But, you know, the workers… The workers aren’t grumpy, you know. So, what’s this one? It’s lovely. This is another experience for me. Is this Anffy?

46:40

This was done by Annty Mahiolani Poi Poi, who I met over the past year. I found her to be a very genuine, interesting, and important person. I’m not sure this picture is that great. You saw it here first. It doesn’t really matter if you can’t see it, but in my opinion, she represents the Welsh valley, and they’re the ones writing it.

47:10

Yeah, of course, food. And there’s a really physical vibe in this painting, which is pretty fascinating. I have to say, and I think it’s really fascinating, I was ill and on steroids, which made me feel really great. In fact, the first online effect they mention in their training. And I was painting Antti when I was on that stuff.

47:37

I think my family just showed up at the door and kept saying, saying, saying, saying, saying, saying, saying… over and over.

48:05

That’s good. Well, the pictures look great in every kind of way. Well, thanks. The emotion really comes through. We workers put in a lot of hard work to get the communication just right over the years. I know. You workers are really fun. I like the feeling it gives. She’s really feminine. She’s really feminine. I’m thinking about her stomach here, and thanks to me it’s been made big, but…

48:32

We don’t even realize it. I’m thinking about the noise that’s getting louder here, the noise that’s getting louder as you head to school. I saw it, there was a room with food. Do you see that? Did you see that? Another room with food. Another one with food. Well, I like that. That’s really great for me. So what’s the thing? What did you think about it? Well, I guess someone would think about them. So, the thing about it is…

48:59

It’s alright, actually, I went over to Ariel’s house and I… These are the books, the books. I made the books and produced the books. I found the books and it was a challenge to take the books out without taking all of them. I wanted to get the feeling of them moving through the air and through the books. That’s lovely. I feel the fun in it. There’s a lot that comes from that. It’s really lovely.

49:26

Here it is. You can’t look at it without writing something down. Don’t we all hope we’ve felt like this at some point? Basically, that’s what we’re working towards. It’s electrifying. It’s painted pretty simply. In some ways, I’m writing about this. How simple? It has a lot of layers. It does that, but it was painted really quickly. The person was sitting there, and I had a lot of time. This is the result.

49:53

Some friends came over, looking great and interesting, Jessica. I was going to give this painting away to get it done, but I realized I had to keep it because it inspires me. Sometimes I like to simplify things, and this really helps me do that. The dimension and everything said is pretty brief.

50:21

Beth, I really like her. She’s not the only thing I like, but I do like that side of working. So they were great about letting me keep her, and at first, they wanted something else from the series. Aren’t you interested? Don’t you enjoy watching her? Aren’t they amazing? She feels so real. I started off like that.

50:48

And that’s not around there, so I don’t know where that came from. I don’t think so. But I don’t see it around there. That’s why I’ve said I don’t know where that was. But I think it’s important, the importance of that, that sets it. Probably. Probably. Probably. Probably. Probably. Probably. Probably. Probably. Probably. Probably. Probably. Probably.

51:18

It would be. Oh, it’s lovely. The smaller stuff is really important, and I haven’t really had that much overall. Maybe the main thing for you is having lots of hands in your pictures. But you’ve really done an amazing job. We’re really glad to be here with you. I thought we were going to get… Thanks so much for coming in. Visiting for an interview. We’re going to chat a bit, but surely your art says it all. And it’s really lovely in so many ways.

51:47

Well thanks, but right now I’m really painting. It’s been over 30 years working on this through different kinds of photography, especially since we haven’t looked at much photography. That was my first photography work in about 20 years. Wow. I had been collected by the Assembly Museum in photography and I had shows in New York, San Francisco, and L.A.

52:13

I’ve heard every one of those questions. I had a chat in Mayfair. I’ve heard every one of those questions. I had a chat in Mayfair. I had a chat in Mayfair. I had a chat in Mayfair. I had a chat in Mayfair. I had a chat in Mayfair. I had a chat in Mayfair. I had a chat in Mayfair. I had a chat…

52:41

Amazing communication from these cultures. I know you and I really want to honor the Hawaiian cultures, and you’re doing it beautifully. Well, thanks. I think what she’s done here with this Hawaiian server is a real resource for the Hawaiian people. Awesome. I think you’re going to say something, you know, copying these.

53:09

I hope she plays these today and shows them off. These are really good. These are really good. These are really good. These are really good. These are really good. These are really good. These are really good. These are really good.

53:38

It’s really lovely. It’s really lovely. We appreciate you. I feel really lucky. I get to share all these things on TV with everyone from Maui, and we can, you know, like me being here with the folks from Maui behind the camera, see two great books, great people, and you. That’s it.

54:01

It’s a lot of fun for us. That was a good time. She was running. Well, we didn’t have to do that. This is really bad here. I don’t see anything bad. So thanks a lot, Marly, for giving us the fun, showing your art and sharing it with lots of people in Wales and all over the world, who are going to come and see that you’re confident.

54:28

Thanks so much for coming by and checking it out. I really had a great time with you, Jason, and Ariel. So, I gotta ask… What was that rustling noise before you left? Wolfie, come here, buddy! He wants to join in. Wolfie, come on. No, he just wants to play fetch. Wolf, sweetie. Come here. Alright, what did you want to ask, Ariel? So, I was thinking…

54:57

I’m just asking if there’s anything else you’d like to share with the people who’ve seen you, anything in your words, anything you feel you want to share with them. Well, I’d like to say that I hope my work has made you think or feel something meaningful.

55:26

Happy or whatever, I feel like I’ve done my job and my life. Really great. Thanks. And thanks again. God bless you. Thanks.

55:51

I like being here with you today. I like being here with you today. I like being here with you today. I like being here with you today. I like being here with you today. I like being here with you today. I like being here with you today.

56:19

Hello!