Reviving Native Hawaiian Clothmaking: The Work of a Contemporary Artist
Reviving Kapa: Lehuauakea’s Journey in Art, Identity, and Cultural Resilience
Kapa—an ancient Hawaiian practice of creating bark cloth—is experiencing a resurgence thanks to the artistic vision and cultural stewardship of Lehuauakea, a young and innovative Kanaka Maoli (Native Hawaiian) artist. Channeling ancestral traditions and bridging Indigenous, queer, and multicultural identities, Lehuauakea represents a powerful force in contemporary Native art.
A Practice Nearly Lost
Kapa, made by soaking and pounding the inner bark of trees such as wauke (paper mulberry), was once central to Native Hawaiian culture. Used for clothing, ceremonial purposes, and more, kapa nearly vanished by the early 1900s following the U.S. annexation of Hawaiʻi and cultural suppression efforts during colonization.
Despite its near extinction, kapa has survived through cultural resilience and the dedication of a few artists and practitioners. Among them is Lehuauakea, one of the youngest kapa practitioners today, who has committed themself to reviving and evolving the practice for today’s world.
A Personal Call to Reconnection
Lehuauakea first felt drawn to kapa after moving from Hawaiʻi to Oregon during high school. The distance from their homeland ignited a yearning to reconnect with cultural roots. Their journey led to an immersive exploration of kapa and other traditional practices, informed by both familial knowledge and artistic experimentation.
Now splitting time between the Island of Hawaiʻi and Santa Fe, Lehuauakea’s work blends traditional kapa techniques with contemporary themes. They dye their handmade bark cloth using natural pigments, crafting large-scale installations and mixed-media works that incorporate both Indigenous Hawaiian and Japanese heritage.
Interweaving History and Identity
Lehuauakea’s approach to art is deeply introspective and historically conscious. Their installations often feature repurposed materials steeped in personal and communal memory. For example, in their 2025 piece “Still Finding My Way Back Home,” they stitched together vintage Calrose rice bags—a staple of their upbringing—with kapa, Japanese silk, kimono fabrics, and cotton in a quilt-like form.
“So many of us come from plantation histories,” Lehuauakea noted, referring to their Japanese ancestry and the broader context of Japanese laborers who were brought to Hawaiʻi for the sugar and pineapple plantations. “I wanted to celebrate those histories, which can often be complicated and filled with assimilation, erasure, and family secrets.”
Recognition and Momentum
In recognition of their work, Lehuauakea was recently awarded a $15,000 grant from the Walker Youngbird Foundation, an organization supporting emerging Native American artists. Launched by Reid Walker, a communications expert from the Mandan, Hidatsa, and Arikara Nations of North Dakota, this foundation seeks to elevate Indigenous voices in contemporary art spaces.
Lehuauakea is the second recipient of the grant, following Muscogee-Creek painter George Alexander. The award not only provides essential funding for Lehuauakea’s studio and materials but also paves the way for their first solo exhibition on the East Coast, scheduled for 2026 at Nunu Fine Art in New York City.
More Than Just Art
Lehuauakea views their artistic journey as both a personal evolution and a broader act of representation. As a queer Indigenous person navigating multiple cultural identities, their work challenges conventional narratives about what Native art looks like and who gets to create it.
“I see getting this opportunity and support as bigger than myself,” Lehuauakea said. “I hope I can do right by this and represent my community well. And hopefully, I can encourage others to open future doors for other Native Hawaiians to be included in the conversation, too.”
The Power of Tradition and Innovation
Lehuauakea’s resurgence of kapa transcends preservation—it transforms and modernizes the form. By incorporating both traditional Hawaiian techniques and modern, multicultural materials, they navigate the complexities of identity, migration, and memory.
As Walker, the foundation’s founder, put it, Lehuauakea exemplifies how “Native artists are not only preserving cultural traditions but actively evolving them.”
Conclusion
In an era marked by cultural revival and the fight for Indigenous visibility, Lehuauakea’s work displays the enduring power of traditional practices like kapa. Their artistic career reflects more than creativity—it is an act of resistance, memory, and hope for a future where Native voices are celebrated, centered, and supported.
As Lehuauakea continues to prepare for their upcoming solo exhibition, they carry the weight and pride of their ancestors, communities, and future generations, transforming kapa into a vivid canvas of identity, resilience, and healing.