“Entitled ‘Mālamalama,’ which not only references a torch or guiding light, but also the light of the mind. The Museum holds within its walls an immense amount of history and culture, and it is this torch of knowledge that we hope to pass to our next generation. The three circles around the figure reference petroglyphs and the arching piʻo/ānuenue forms above the petroglyph, the three piko which represent past, present and future. Thank you to Cory for this awesome collaboration, one of the best I have ever had the honor of being a part of. Thank you to Bishop Museum for the opportunity and for being who and what they are, a beacon of light for the people of Hawaiʻi, the Pacific and the world. Thank you to Poʻiwena for being such a beautiful model, and to the whole Britland family. Thank you to Redefined Media for the awesome photos! And of course Keao Anthony (aka Stanford) for the help with all the math, measuring and left-brain stuff!” – Kamea Hadar

“For my portion of the mural I am using traditional Hawaiian patterns in a contemporary approach. These patterns are based on my participation in Pāuhi, Keone Nunes’ tattooing group, in which I am a student. Although these patterns are rooted in tradition, I do intentionally try to approach their use in a contemporary way. My thought is that our kūpuna would use these patterns “in the round,” wrapping three-dimensional forms, such as our bodies, with kākau uhi and kapa, or adorning our treasured items such as the ipu pāwehe. Because this mural is 2D and flat, I decided to compose the patterns radially as opposed to linearly, my philosophy being that the same juxtaposition of linear pattern vs. form can be acheived.

The topmost pattern is a play on “Lei Hala,” referencing the passing of time, and this girl’s connection to the “Present” through her manawa (Fontanel) .

The middle pattern is a play on a “Lā” pattern, a continuation of the thought of a “guiding light” and one’s connection to the “Past” through their piko (umbilical cord).

The bottommost pattern is another play on Lei Hala. The pattern is “incomplete,” in my own poetry that the time has not yet passed—the “Future.” This is juxtaposed with her hands, indicating the things this keiki will do for her people in her future.

I used an approach similar to ʻOhe Kāpala to achieve the multilayered feeling of Kapa, almost like the water marks seen in kapa. From a distance, this fine patterned surface gives the feeling of radiating, dancing light.

The color scheme is based on the ʻAlaea color, including a range of other earth tones found in Hawaiʻi.

Although the surrounding circles could be seen as a halo, my manaʻo behind these arches are referencing petroglyphs and the arching piʻo/ānuenue forms above the petroglyph (like the Bishop Museum Press logo). There is a repetition of three major arches referencing past, present, and future. I feel like the “crescent” is one of our most important forms, seen in the concept of Piʻo, Hoaka, Niho Palaoa, on ʻAhu ʻUla, the form of the Mahiole, the base of the Pahu, etc.- Cory Taum