Fishcake presents a collaboration show (February 10 to April 9, 2022) with 3 artists Shin Takahashi, Michael Marshall, and Paul Levitt in our next exhibition “Visual Poetry”, in alignment with the highly anticipated Hawaiʻi Triennial (February 18 to May 8, 2022).
Hawai‘i Triennial 2022 (HT22) presented by Hawai‘i Contemporary will open on February 18, 2022. Preceded by two biennials in 2017 and 2019, the 11-week, city-wide art exhibition entitled “Pacific Century – E Ho‘omau no Moananuiākea” marks its third iteration with a new format and major expansion as the biggest contemporary art event in Hawai‘i. Please be sure to visit hawaiicontemporary.org for more info.
Modern Visual Poetry emerged worldwide with the advent of abstract art and avant-garde movements in the early 20th century. International movements such as Cubism, Dadaism, Futurism, and Surrealism gave rise to new visual genres such as concrete poetry and collage art. Beginning in the mid-1970s, Hawaiʻi’s first concrete poet, the late Wayne Kaumualii Westlake (1947-1984) began publishing locally, regionally, and internationally. Westlake’s ground-breaking work continues to influence Native and non-Native concrete poets and artists including Joe Balaz, Kaʻili Chun, Richard and Mark Hamasaki, Imaikalani Kalahele, Kapulani Landgraf, Carl Pao, Shinichi Takahashi, and most recently, Thad Higa, who was the 2019 artist-in-residence at BoxJelly + Fishcake.
Featured Fishcake artists include Hawaiʻi residents Shinichi Ola Takahashi, Michael Marshall, and Paul Levitt.
Born in 1953, St. Louis born artist Michael Marshall completed his M.F.A. at Yale University in 1977, and over the next ten years, earned fellowships, prizes, and awards in painting and drawing. In 1977, his first solo exhibition, Paintings, was sponsored by the Afro-American Society at Bowdoin College, Brunswick, Maine. In 1984, in the same year that poet Wayne Kaumualii Westlake died, Marshall began teaching in the art department at the University of Hawaiʻi at Hilo and continues to paint, sculpt, and exhibit locally and abroad. For the Fishcake exhibit, Marshall created visual poetry collages that are three-dimensional testaments to 204 years of human impacts on the environment. A myriad of voices, places, and events are alluded to in his collages, from Futurist artist and sculptor Umberto Boccioni (1882-1916) to the the undersea volcano Lōʻihi (renamed Kamaʻehukanaloa by Hawaiʻi Board on Geographic Names). Marshall’s senryu-style haiku resonates with urgent themes apropos of past, present, and future concerns for our world from 1818 to 2022. In an example of Marshall’s global and local perspectives, his reference to Monet’s pastoral painting at Bennecourt, France, intriguingly connects with Nestle shareholder Liliane Bettencourt who, in 2007, was the dubious recipient of the Black Planet Award for “irresponsible marketing of baby-food, genetic engineering and the monopolizing of water.” In 2020, the Atrium Gallery in St. Louis, Missouri, featured Marshall’s work in an exclusive online solo exhibition.