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Tom Penny: Island Talent     Special to North Hawaii News

9/18/2017

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Picture
​    The Hawaiian Islands are an ideal shooting location for movies of all kinds and when Hollywood comes to call, they find multi-talented residents such as Tom Penny of Waimea to lend their skills.  
    In 1979 a “strange artistic yearning” brought Penny to Waimea from O`ahu where he had morphed from a U.H. Manoa art student in 1971 to a journeyman carpenter. “When I walked into the back door of the Kahilu Theatre for the first time, I thought well wow, this is it. Music, acting, painting, carpentry. The possibilities were pretty endless.”
    All through the 80’s, when Richard Smart graced the Kahilu stage, Penny worked on all aspects of theater productions. “The first one I did with Richard was The Man Who Came to Dinner. It was really great to see him doing what he loved,” said Penny.
    In the ‘90’s Penny wanted to focus on acting and studied Meisner technique with Jim Jarret. During this time he was cast in Waterworld, (filmed at Kawaihae) where he had just one line. But more importantly, it gave him the chance to watch film production in all its facets, eventually finding his way to set work. Since then Penny has worked as set dresser, prop builder, and as a grip on many movies large and small.  
    “The first blockbuster that I worked on as crew was Indiana Jones and the Kingdom of the Crystal Skull.  I was a set dresser and we shot at the Shipman Estate,” said Penny. Set dressing is both meticulous and creative work. To maintain scene to scene consistency, a file of closely guarded continuity photos are kept. However, there was one photo Penny would have like to keep. “Harrison Ford was sitting in an amphibious vehicle and Spielburg was leaning in talking and I was standing behind them talking to the head set dresser,” said Penny. 
    One of Penny’s jobs on Jurassic World was prop and set construction, which doesn’t have the flash and glamour we associate with movies. “I worked in Honolulu for three months to create all the props for a particular scene and that part of the movie took less than a minute,” said Penny.
    Grip, one of Penny’s other jobs, means manipulating light sources, whether natural or artificial to show subjects to the best affect. He was key grip for Descendents and grip for Predators, shot partially in Waipio Valley. “Lanakila (Mangauil) gave the blessing (at Waipio) and he was very specific about respect for the land and that we could expect the unexpected,” said Penny. They were soon to discover the meaning of those words. “We were loading sand bags into the back of the mule (utility vehicle) and I had the wheels chalked with sand bags and it just rolled right over them and headed down the hill toward the cliff, but there was just enough of a flat run and it stopped before it went over, and I couldn't help but think about Lanakila's words,” he added.  
    Penny was in the right place at the right time with a willingness to follow his heart, work hard and learn his craft from the ground up, and is an example of what the island spirit makes possible.

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The Latest Spin on Weaving: Exhibit Features Hawai'i Handweavers Hui's 2015 Award Winning Pieces                                           Special to North Hawai`i News 9/22/15

9/23/2015

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PictureSusan Mori's It Isn't Easy Bein' Blue
    Dancing fingers across the islands have created “Shear Delight: Weaving in the Year of the Sheep,” the Hawai'i Handweavers Hui’s  (HHH) 30th biennial exhibition. The weavings are on display in Kahilu Theatre’s Kohala Gallery in Waimea Sept. 18 through Oct. 18. Hosted by the HHH Hawaii Island chapter, the show’s theme celebrates the Chinese astrological year and the fiber (wool) which many handweavers and spinners use for their craft.
    E
merging from the need for shelter and clothing, weaving is the oldest surviving art form and our island community will be given the chance to experience that art at its best. The exhibit features award-winning pieces that originated at the Honolulu Museum of Art School Gallery in Honolulu (Aug. 25 through Sept. 13) and was transported to Hawaii Island last week.
   
The HHH began on O'ahu in 1953 as Hui Mea Hana – meaning people working with their hands – with the mission “to encourage and promote excellence in hand weaving by bringing together weavers, spinners, dyers, fiber artists, and educators who share the joy and passion of the fiber arts.”

PictureJoan Namkoong's Two Shades of Grey
Hawai'i Island Group
    The Hawai'i Island HHH was the brainchild of Joan Namkoong, an accomplished weaver and longtime member on O'ahu, who initiated it shortly after moving to this island in 2010.
Currently the group is led by Susan Mori and Gretchen Van der Hayden who coordinate monthly meetings.
    “They set up a topic. It could be a show and tell, a hands on or a video,” Hawai'i Island HHH member
Sherry Heins says, “You bring your weavings to show people what you've done and they all ooh and aah and ask 10,000 questions.”
       To take advantage of member expertise, meeting locations can vary. “We try to go around the island and have meetings in different venues and sometimes members’ homes,” Mori says. “Our main venue for our bigger workshops and our monthly casual gatherings is Island Yarn and Art Supplies in Kona and we have been very lucky that they have made a space available to us.”

Picture
The Culture of Woven Arts
     Whether practical or decorative, weaving stands as a metaphor for the transactions between humans and the natural world.
    
“My father was a professor and my family took many trips to Guatemala.
I got to see all forms of weaving starting from the spinning and dying,” Mori explains. “I was mesmerized by what the weavers were doing. The whole spirit of the people combined with the landscape went into the weaving there.”
   
Mori returned to Hawai'i Island from Japan where she was able to study with a teacher. “I learned a lot from her about natural fibers and dyes. Weaving like any other art form is a reflection of the person who makes it and their culture,” she says. “It’s the connection you get with people through weaving. As much as I learned about weaving from my teacher in Japan, I probably learned more about the culture of the group of women.”
   
While it is math and pattern based, weaving is also creative meditation. “When I'm really focused on weaving, the rest of the world can kind of disappear for a while. And when I'm planning a project, sometimes when I wake up, I know I've either been thinking about or dreaming it; suddenly I'll see it,” Mori says. “To me every single weaving I do is like an exploration. It's a question of how you're going to put different textures, fibers and colors together,” she adds.  
   
The love of fiber arts drew Heins to weaving. A long time knitter, she discovered weaving on a trip to Las Vegas where she spotted a woven scarf in a yarn store that she really loved and hasn’t looked back since.
    “
I joined the HHH and totally enjoyed the ladies,” Heins recalls. “I'm inspired by them all the time. Everybody weaves something different.” Heins generally weaves wearable art. “I do scarves and give them away to friends and family on the mainland,” she says. “I also donate to the Daniel Sayer Foundation for the auction. For the show I did something that was completely impractical.”

PictureJacquard Loom
Weaving Experience
    Weaving offers myriad educational benefits and along with adult workshops, the HHH offers community outreach in the schools that teach
consistency, awareness and balance, along with life lessons.
  “It's very tactile. They (youngsters) can use their hands and get great satisfaction out of creating something,” Mori says. “There's also a lot of math involved in weaving. It can be a really good math tool, visualizing shapes and patterns. The more complex the pattern, the more math.”
    In fact, the invention of the Jacquard loom in France, first demonstrated in 1801 with its automated punch card system, is considered to be the first computer. But while automation has changed hand weaving from an everyday activity producing functional cloth to a contemporary art form, the process of transforming raw fiber into thread and cloth remains essentially the same. Hand and floor looms, drop spindles and spinning wheels retain their original character and function and are used by HHH members today.  

PictureDeborah Rapasky's Seismic Activity
And the Winners Are    
    The “Shear Delight: Weaving in the Year of the Sheep” show’s juror Deborah Jarchow is a nationally known fiber artist and weaving teacher. Of the 12 award winners, four are from Hawai'i Island. Pieces include Debra Repasky’s Seismic Activity (Kona), Susan Mori’s It’s not Easy Bein’ Blue (Waimea), Joan Namkoong’s Two Shades of Gray (Waimea) and Jill Cohen’s Steph’s Scarf (Hilo).
   
Within the exhibit, the Hawai'i Island HHH also display weaving tools and storyboards showing their craft. Handwoven items are also for sale, with a portion of the proceeds going to Kahilu Theatre.
   
 “The art of weaving is disappearing as the world modernizes,” Mori concludes. “It's one of the big reasons for promoting the art and why we wanted to have an exhibit here, sharing with people what weavers do.”

An application to join HHH can be found at:  http://www.hawaiihandweavers.org/membership.htm

Picture
Jill Cohen's Steph's Scarf
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