Mrs. Decker’s Surrealistic spoofing of human foibles through organic, shmoo-like figures has recently represented some of the most imaginative painting going on here. Unfortunately this showing of 10 mixed-media paintings is the last for Mrs. Decker in the Islands. Pretty much anything goes in expressive means as well as materials (boat resin, wire, kleenex, liquitex, etc.); yet her satire is one of tongue-in-cheek rather than the destructiveness of a Dubuffet. In Happy Hour two figures coil around a table and each other; Boo poses three very surprised-looking figures next to one another in

One of the most important showcases of Island art is the Library of Hawaii art circuit. Work is submitted twice a year to juries drawn from prominent art organizations (these, also, change every six months). Artists chosen get a three-week one-man exhibition at the Central Library; the showing then circulates to Oahu branch libraries for the next seven months.

Unfortunately many of Hawaii’s top artists have ignored this important means of display. Many mediocre painters have been selected for want of better work from which to choose. Mrs. Worcester, currently showing “wet-wash” watercolors, is

When Honolulu’s newest art gallery, Galerie Lamoi, opened its spanking white basement quarters downtown last December, its ambitious plans included showings of Paris and Chinese artists. The first exhibit to arrive from the French capital are oils and watercolors by Pan Yu Lin, veteran painter of Chinese ancestry and training now residing in Montmarte. (Mrs. Char, the gallery’s director, describes Pan Yu Lin “as a very well known personality there”).

In this showing of 16 oils and 14 watercolors (a combination of Chinese ink and watercolor done with the soft Chinese brush), the artist concentrates

The showing of 13 oils by Kauai’s Isami Doi emanates the same mystic cosmic strength that has placed him among the first rank of Island artists. Choosing to work in relative isolation on the “neighbor island” of Kauai, Doi has until recently painted Surrealist abstract impressionist renderings of nature. There is a new note in this show, a complication and extension beyond his individual “Impressionism.” Doi’s direction is now more abstract, with an emphasis on the language of painting rather than that of natural phenomenon.

Two-dimensional flat areas are juxtaposed to vibrating three-dimensional

Part II of IGAS’s exhibition ran through August at the local museum, and the quality was on about the same par as Part I (reported in the last issue). Although the group included such divergent nationalities as Cuba, Switzerland and Hungary, the watered-down level of abstraction and stylized realism pervaded the whole.

––Joanna Shaw Eagle