Txvo Knots
photo
1
lal Lum.
zoom
Space Between
© as well as his
wearables ©, created largely
from indigenous plants or those
introduced by early Polynesian
settlers (although some, such as
Two KnotsQ,
are cotton), typi-
cally are abstract in form and
have geometric surface pattern.
One of the few accomplished
makers of utilitarian forms—
large mats, baskets, hats and
fans—Marzan collects and pro-
cesses much of his own fiber.
In his plaiting, look
for lauhala,
the long leaves of a tree also
known as pandanus. Hibiscus,
coconut and
ie ie,
an endemic
aerial root, provide the basis for
much of his braiding, netting,
twining and spinning.
Marzan’s work touches on
Hawaiian—and often universal-
themes that find a background
today in the Hawaiian Renais-
sance, a revival beginning in
the 1960s of values, language,
dance, song, craft, agriculture
and navigation. Through his
manipulation of shape, choice
of fiber, technique and pattern,
and layering of materials, Mar-
zan addresses both folklore and
concepts such as origin or sacri-
fice. In his
Hanau ia,
a bold three-
dimensional wall relief of plaited
matting, the
piko
(the navel, the
point of origin) is a reference in
the geometric patterning. The
piko can also appear as descend-
ing spiral shapes or form the
center construction of a lauhala
hat. Marzan’s wearable art in-
cludes a dynamically patterned,
layered and gathered bustlelike
form woven out of lauhala for a
woman and a comparable piece
for men reminiscent of tradi-
tional feather cloaks.
Marzan is now applying lay-
ers of gut, some inscribed with
words from traditional chants,
over fiber structures that subtly
refer to Hawaiian implements.
Anchored
Q refers to the
mau
(bowels) and the Hawaiian be-
lief that one’s heart and mind
reside in the gut.
Equally accomplished in
hula, song and protocol, Marzan
advises Bishop Museum leader-
ship on how to incorporate
Hawaiian traditions into a non-
Hawaiian museum setting. In
August, he initiated the opening
ceremonies of the museum’s
newly renovated Hawaiian Hall
with a traditional chant©. He is
active as a panelist, speaker and
demonstrator at fiber gatherings
at home and abroad. Marzan’s
ethnic background—a quarter
Hawaiian, a quarter Japanese
and half Filipino—typifies the
cultural melting pot of Hawaii,
which in 2009 marks the 50th
anniversary of statehood.
— JENNIFER SAVILLE
'Jennifer Saville is the former
curator o f Western art at the Horn
-
lulu Academy o f Arts.
sites.google.com/site/
marquesmarzan
bishopmuseum.org
Find more magazines at www.magazinesdownload.com
N Y / Corning
© Corning Museum of Glass
Favorites from the Contemporary
Glass Collection
to Jan. 3
cmog.org
Selections in an astonishing
array of forms, colors, scale and
methods, such as Donald Lip-
ski’s
Water Lilies No.
52, have
captivated visitors over the
years by blending the beautiful
and the unexpected.
N Y /N ew York
Barr}' Friedman Ltd
Venice. 3 Visions in Glass
to Jan. 16
banyfriedmanltd.com
This touring exhibition intro-
duces new work by three emi-
nent artists working in Venice—
Laura de Santillana, Cristiano
Bianchin and Yoichi Ohira.
NC/Charlotte
McColl Center for Visual Art
Joyce Scott: Recall
Jan. 29-Mar. 20
mccollcenter.org
Often startling and provocative,
Scott’s beadwork, glass sculp-
tures and prints combine humor
with social commentary.
NC /Raleigh
Gregg Museum of Art
& Design
Faces and Mazes: Lia Cook
to May 15
ncsu.edu/gregg
Jacquard-woven faces dissolve
into mazelike patterns, frag-
menting into ambiguity.
W |
m
dec/jan 10
american craft 021
