Many Hawaiian legends tell the stories of Kamapua‘a, a kolohe (mischievous) pig kupua (demi-god) who takes on many forms at will, one moment a handsome man, the next a pua‘a (pig) or an ‘ama‘u tree fern. Masculine, bold, untamed, sensual. In folklore, he was always successful against all odds at whatever he set his mind to achieve. Associated with Makahiki season, agriculture, and fruitfulness. He is best known for his tempestuous and fiery relationship with the volcano goddess Pele. His adventurous spirit represents some of the best and worst of us. This print represents two of his kinolau (physical manifestations).

"Pua ka wiliwili, nanahu ka manō."
When the wiliwili tree flowers, the shark bites.
‘Olelo No‘eau (Hawaiian Proverb), Mary Kawena Pukui

Shark bites, though rare, have been documented to occur more in the Hawaiian islands during the fall, coinciding with the flowering of the wiliwili tree depicted in this hand-drawn artwork as well as the mating season for tiger sharks. This print is inspired by this astute Hawaiian observation of the interconnectedness of nature's patterns.

Wiliwili (Erythrina sandwicensis) is a native Hawaiian flowering tree. Wiliwili, means "twist-twist," referring to the twisting shape of the seedpods. Its lightweight wood was once favored for making surfboards (papa he‘e nalu) and its bright red bean-like seeds for making lei.

The trees lose their leaves during the dry summer season. At the end of summer, they burst into bloom. Different trees have different colored flowers: ranging from very pale yellow, to orange, to crimson red. Found on the dry and windy leeward sides of the islands, groves of these trees are clustered across the open landscape. Normally hard to spot except when they bloom. Their colorful flowers catch your breath and can be seen from a great distance. This print is a reminder of the interconnectedness of the cycles of nature and of the wisdom embedded in these enticing flowers: watch for sharks.

On the Kalaupapa peninsula on the island of Moloka‘i, I was inspired by the living tapestry of native Hawaiian plants hugging the coastal jet black lava rock in swatches of bright silvery greens.

After graduating from UH Manoa I jumped at the opportunity to temporarily run a native plant nursery for the National Park Service in Kalaupapa, Moloka‘i. I’ll never forget my first glimpse through the little prop plane window: impassable sea cliffs sealing off a picturesque town set on a small remote peninsula. I’d learn that its harsh enduring beauty was matched in character by its inhabitants: caretakers and a handful of cured Hansen’s disease (leprosy) patients living out their old age. The remainder of its inhabitants care for the place: its historical buildings and its endemic endangered ecosystem.

I created this design as a lasting testament to the beauty of not only its native Hawaiian landscape, but also its history of human endurance and compassion in the face of daunting circumstances. This place and design are a reminder that beauty arises out of contrast and that depth is born from meaning. The central element to this design is the white Puakala native Hawaiian poppy flower. A thorny flower that thrives among the windswept lava rock and sea spray of the Kalaupapa peninsula.

Coconut or Niu has a Hawaiian saying or ʻōlelo noʻeau, 'Ka wai lewa i ka makani' or 'The water which sways in the breeze.' Water is often symbolic of wealth, and the heavens, the region above, here provides blessings.

This print tells the life cycle or the genealogy of the coconut palm and it's fruit. Like a series of Russian dolls, each of us contains within us the multitudes of both our ancestors and the seed and nourishment for future generations. Similarly, the coconut contains within it multitudes. The coconut provides nourishment of both people and of the embryo within the coconut. The fruit is capable of withstanding long ocean voyages as it protects future generations within its husk. It is central to pacific cultures, allowing them to voyage and prosper.

The Hawaiian crow, ‘Alalā (Corvus hawaiiensis), is a critically endangered endemic bird no longer found in the wild. They were once common throughout the Hawaiian islands. Highly intelligent and vocal, they are named after their vocalization that sounds like the cry of a child.

‘Alalā was an important seed disperser of Hō‘awa (Pittosporum sp.), a beautiful native shrub with tiny clusters of creamy-white flowers, small orange fruit pods that split open to reveal jet-black seeds inside. Lacking this important seed dispersing bird, several species of Hō'awa have become endangered themselves.

The ‘Alalā Project is a partnership between several organizations which seek to bring these birds back to the wild through a captive breeding program. A portion of the proceeds from this print will go to one of the organizations involved in this program, the Maui Forest Bird Recovery Project, which houses many of these birds.

“Hawaiian forests are family; there is a shared ancestry among the people, plants, animals, and landscapes, including species like the ‘Alalā. By returning the ‘Alalā to the wild, we are welcoming home a family member that has been away for a long time and fulfilling our reciprocal responsibilities as stewards and ancestors of this land.” - The ʻAlalā Project

Kaniakapūpū means “the singing of the land shells” in Hawaiian. Featured in this print are kāhuli snails, ’ōhi’a lehua bursting into flower, and nectar feeding i’iwi birds. This print has layers of meaning, or ‘kauna’: The songs of the snails bring Hawai’i into being.

Kaniakapūpū is the name of the summer palace of Kamehameha III who said in 1843, ‘ua mau ke ea o ka ’aina i ka pono’ or ‘the life of the land is perpetuated in righteousness.’ The Hawai’i state motto to this day.

“Kāhuli (tree snails) are attributed with song and are featured in oli, mele, and mo’olelo. They are considered hō’ailona (omens or signs) when encountered in the forest. Their colorful forms adorn plants and people alike, as their shells were used in lei. Unfortunately, they are under threat of extinction by the appetites of introduced invasive predators. Hawai’i’s Snail Extinction Prevention Program and their partners are rearing Kāhuli for reintroduction and are protecting their habitats.“

- David Sischo, Ph.D. Snail Extinction Prevention Program Coordinator.

A portion of proceeds from this purchase will go towards the Snail Extinction Prevention Program.

A past Hawai’i echoes with visions of a future one. Manu-o-kū birds soar, nest, and fish amongst the coastal flowering Hawaiian hau trees. The hau flowers last only a single day each, going from yellow at dawn to orange and red as the day ends.

The manu-o-kū, also known as the white tern, holds deep cultural and ecological significance to Hawai’i. When seen out at sea, these graceful birds are natural indicators to seafarers that land is near. Like fI Sherman, they go out to sea in the mornings to fish and return to shore in the evenings.

Once rare in Hawai’i, except in the remote northwestern Hawaiian Islands. Their comeback once the 1970s in urban Honolulu is a testament to dedicated community conservation efforts, while echoing the timeline of the Hawaiian cultural renaissance. Honolulu has implemented measures to protect the trees where they are actively nesting from disturbance, marking them with a blue ribbon around the trunks.

From the beaches of Waikīkī to the lush forests of upper Mānoa valley, this design embodies the range of resources found within this powerful, prosperous, and beautiful ahupua‘a. An ahupua‘a is a traditional land division that encompasses a watershed extending from ma uka to ma kai (mountain to ocean). Traditionally in Hawai‘i, community boundaries were defined by watersheds that provided all the resources for sustainable living: fish, agriculture, consistent fresh water, and upland forests reserves. Wise management fostered a thriving community.

Today the ahupua‘a of Waikīkī continues to be one of the most abundant and prosperous. This design highlights abundance, displays the importance of balance, and shows the beauty of diversity in the form of contrast. Featured is a sort of yin yang play between the native Hāpuʻu tree fern found in the mountains and the O‘ahu island flower ‘ilima found growing on the coast.

Lau hala, the Hawaiian word for the leaf of the hala tree (Pandanus tectorius), has been central to Polynesian and Hawaiian culture since time immemorial. Lau hala weaving, like all art, requires patience and practice. The leaves undergo a lengthy process of preparation to make them into dried pliable. Skillful mastery of technique is needed to use lau hala to make a wide array of objects. The hala mat is the most well known product of lau hala weaving, symbolic of the home and its comforts. Hats, baskets, bracelets, and much more can be made from lau hala. Although lau hala weaving is a practical art, its artist’s finest creations are truly embodiments of the love of art itself.

Kupu means “to sprout” or “to grow” in Hawaiian. The kupukupu fern teaches growth, resilience, and renewal in the face of great change.

“The kupukupu fern is one of the first plants to bring life back to the land after a lava flow. Our goal is for Kupu and its programs to restore life to the land, ocean, communities, and to the individuals we serve,” says John Leong CEO of PONO PACIFIC & KUPU HAWAI’I.

KUPU HAWAI’I, a Honolulu-based non-profit, affirms the Hawaiian notion of “ma ka hana ka ’ike” or “in working one learns.” This approach has led to the creation of hundreds of green internships and service-learning opportunities to support more than 100 partner sites across Hawai’i and the Pacific region. A portion of proceeds from this purchase will go to KUPU HAWAI’I.

The ‘A‘ali‘i (Dodonaea viscosa) is a native Hawaiian shrub that grows in dry environments around the world. It is a favorite on the islands for its beauty, cultural significance, and role in conservation. ‘A‘ali‘i is known for its strength, proverbially referred to as, ‘a‘ali‘i kū makani, which means “‘a‘ali‘i standing in the wind.” The shrub has the ability to withstand strong storms and wind gusts by bending and not breaking.

Found most commonly in dry, windy, open landscapes, it is easily overlooked until it blooms. Once covered in eye-catching papery seed pods, you can’t help but notice their beauty. The seed pods come in a range of colors from magenta to lime-green. They are a favorite for lei making.

Yet, its strength and beauty are eclipsed by its fast ability to hold space in unsheltered landscapes. These qualities make it an ideal forest regenerator. It quickly forms a canopy, providing shelter to other plants and animals from the wind.

‘A‘ali‘i demonstrates an important Hawaiian value; pairing humility with strength to protect and nurture those around you.