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Lawai International Center Temple

Plan to see..Hall of Compassion…The Lawai International Center as it focuses on the restoration of 32 acres in the Lawai Valley that once was the site of the Hawaiian heiau, a Taoist temple, a Shinto shrine, and a Buddhist temple. Today, this property still contains 88 Buddhist shrines, the likes of which are not found outside of Japan.

Read more about the center.

Garden Island News Article

~ It is not for me to change you. The question is, how can I be of service to you without diminishing your degrees of freedom?
Buckminster Fuller (1895-1983) U.S. architect, author, designer, futurist, inventor, visionary

~ If we have the energy of compassion and loving kindness in us, the people around us will be influenced by our way of being and living.
Thich Nhat Hanh (born 1926) Vietnamese Buddhist monk, poet, scholar

~ Courage and compassion are two sides of the same coin. Compassion without courage is not genuine. You may have a compassionate thought or impulse, but if you don’t do or say anything, it’s not real compassion.
Daisaku Ikeda (born 1928) Japanese philosopher, Buddhist leader, author, poet, educator, pacifist

After 23 years, another miracle has occurred in this millennium and continues to occur at the Lawai International Center on Kauai with the birth of the Hall of Compassion. This exceptional project has involved over 100 volunteers from four countries working around the clock for the past 8 weeks with financial angels at their side. The community has indeed pulled together and accomplished another miracle at the Lawai International Center.

The Hall of Compassion is a hand carved traditional 13th century Japanese building. These buildings have been known to remain standing for 1,000 years. Future generations will be touched forever from the commitment of the people who have given from the depths of their being to help the next person. It is this extraordinary generosity from the gifts of the heart that transform an island, a society and a world.

The Hall of Compassion is nearing its completion. The wood portion will be up by early next year. A natural sealant will be painted on this wood and a beautiful tile will embrace the roof.

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Inuit artist Kenojuak Ashevak

If You Were Born Today, January 29:

You are extremely likable and quite brilliant. You love a good debate, friendly challenge, and stimulating conversations, and always have something unique to share. Although you seem wiser than your years while young, you have a youthful quality that is with you throughout your life. There is a gentle and caring quality about you that others love. While you could get away with a whole lot just because you are so easy to like, you are fair to a fault and will always end up doing your share. Famous people born today: Oprah Winfrey, Dr. Carol Ann Washburn.

We all are artists. Inuit art is one of my favorite.

I admire this lovely Inuit being.

OTTAWA — Kenojuak Ashevak, a once-nomadic artist from Canada’s Arctic regions whose prints and drawings helped introduce Inuit art to much of the world, at her home in Cape Dorset on West Baffin Island in the northern territory of Nunavut. She was 85.

“The Enchanted Owl” by Kenojuak Ashevak.

Kenojuak (pronounced ken-OH-jew-ack), as she was universally known, is probably best remembered for “The Enchanted Owl,” a 1960 print showing an owl with wildly exaggerated feathers and a piercing stare. It became one of Canada’s most famous works of art, appearing on a Canadian stamp in 1970 commemorating the centennial of the Northwest Territories.

Soapstone Carvings

People frequently ask us for ‘soapstone carvings’, but this term is generally a misnomer. When Inuit Artists began sculpting in stone on a larger scale, their art became known as “soapstone carvings,” regardless of the stone used. While it is true that some Inuit carvings are made out of soapstone, other, harder types of stone found throughout the Arctic are much more common: serpentine, dolomite and quartzite on Baffin Island, basalt in the Keewatin Region, argillite or limestone in Artic Quebec, and so on. Using “soapstone” as a generic term to describe all Inuit carvings is therefore misleading. Soapstone is a very soft mineral consisting mostly of talc. If the content is almost entirely talc, it is also known as steatite. It may feel soapy or slightly greasy when touched, hence the name. The colour may range from whitish, greyish-green to different hues of brown. Soapstone is easily carved, but it can also be easily scratched and damaged. It is known to be vulnerable to dampness too. When finished, soapstone carvings may appear to have a dull surface, and artists often apply wax or a greasy substance to give them lustre and protect them from humidity. Originally, artists who made soapstone carvings, recognizing the problem with its softness, would cover their soapstone carvings with a layer of shellac or varnish. Over time, however, this caused soapstone carvings to turn a yellowish colour. Because of this, artists no longer use varnish on their soapstone carvings. Soapstone carvings, because they are softer, generally take less time to make and are therefore less expensive than those made out of harder stone. Marble carvings, the hardest stone, on the other hand, are the most expensive. Soapstone carvings scratch and damage easily. Closest to the soapstone in softness are carvings coming from Arctic Quebec. On Sanikiluaq Islands, artists mostly use local varieties of limestone and argillite. Limestone is a soft sedimentary rock consisting of calcium carbonate and often containing layers of clay silt and sand. Argillite is a very fine-grained grey to black silt stone, sometimes slightly metamorphosed. Carvings from Sanikiluaq Islands are mostly a greyish colour when finished, and the artists will often use black shoe polish to darken them. In spite of their softness, limestone and argillite from Canada’s Arctic region are superior to the regular soapstone both in quality and in hardness. Carvings made of these types of stone can still get scratched and damaged easily, but their graining is finer and their colour more subtle than soapstone. Especially attractive is their distinctive stripped grain, which takes a beautiful polish. Soapstone or steatite, on the other hand, comes in less refined colours which can only be saturated by waxing, but they do not take a high polish.

Did you know?
-Cape Dorset boasts the largest number of artists per capita in Canada (22.7 percent — almost one-quarter of the labor force and thirty times the national average!)
-The word Eskimo is a derogatory term meaning “eaters
of raw flesh”
-Some Inuit artists quarry stone for their sculptures in the winter, but have to wait until the summer to bring it back to their workshops
-An igloo uses the same design principles found in the great cathedrals of Europe
-According to legends, the stone figures, called Inukshuks, protect travelers and point them to the safest pathway
-The Inuit have been carving for over 4,000 years

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Matter + Spirit: The Sculpture of Stephen De Staebler

Matter + Spirit: The Sculpture of Stephen De Staebler has been organized by the Fine Arts Museums of San Francisco.

Truly, I am amazed by this artist. He is a fabulous sculptor that I was not aware of, please take time to review his work you will be inspired as well.

Quotes:
“I have discovered that the unasked-for accident can be the salvation of what you are doing. There is an investment of your own life experience in something as innocent as colour. ”
(Stephen de Staebler)

Stephen De Staebler was an internationally celebrated American sculptor best recognized for his work in clay and bronze. Wikipedia

Stephen De Staebler website

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Sir Eduardo Luigi Paolozzi

Sir Eduardo Luigi Paolozzi KBE RA was a Scottish sculptor and artist. He was a major figure in the international art sphere, while, working on his own interpretation and vision of the world. Wikipedia

One of the founders of the 1950s British Pop Art movement, was an influential artist in post-World War II Great Britain. Paolozzi worked in a number of mediums, but was perhaps best known for his large sculptures and collages. He also created many pieces of art for public spaces in Great Britain and Germany.

Paolozzi’s sculptures continued to evolve through the late 1950s. His figures began having machine parts incorporated into the design, but remained distressed in appearance. By the early 1960s, his sculptures took on a new, more Pop/futuristic look as the figures became more machine- or robot-like, were made of other metals like aluminum, and often painted in striking colors.

As Paolozzi’s career developed, he worked in other mediums, including mosaics, textile design, silk-screen printing, and experimental films, with significant pieces in the latter mediums produced in the late 1960s. He also continued to create collages. While a working artist, Paolozzi also began teaching in this time period. He taught at institutions including the Royal College of Art in London, England, Fachhochschule in Cologne, Germany, and the Kuenste in Munich, Germany. At these institutions, he was an instructor in textile design, sculpture, and ceramics.

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