Aloha dear ones and happy summer!

I hope this finds you and yours in excellent health and spirits.

Our studio is abuzz working toward completion of Wall 1.  Since our last update in December 2023, we've completed work on a complicated 10’ long Wall 2 Koali (Native Hawaiian Morning Glory) base featuring the spectacular Nene (Hawaiian Goose). We are making great progress on the Wall 1 Living Quilt Ulu Mandala, with its connection to the Earth through a flowing lava/root base.

For three years, I could not imagine how to integrate Kumu Keala Ching’s vision of the Light at the Center of the Earth holding up the ulu mandala. How could I design hot lava flows in oranges and reds and have them harmonize with a gold and green ulu pattern? One day, looking through a series of photos of lava, I saw a photo of lava that looked like roots and saw lava flowing from the mandala.  Later, I learned from Lanakila Manguail that ulu roots are indeed orange.

Way behind the scenes in Portland, Oregon, the Bullseye Glass casters are hard at work.

Thanks to everyone who has asked about our progress on the mural. While it may look like nothing is happening, nothing could be further from the truth! We are on fire and making excellent progress.

Kathleen and the Nene puzzle.

Kathleen fitting Nene pieces.

Calley painting Nene chest.

Lorraine grinding the Nene.

Lorraine grinding - Kathleen working Nene puzzle.

Placing these pattern pieces is doubly complicated as Calley created symmetry by mirroring the pattern from the center.

Lamar cuts each piece, keeping track of the mirror images, one up, one down, grinds, and fits them back on the base.

Lamar looks on as Lorraine, Julia, and Sandi place pieces.

Julia, Lorraine, and Alexis placing pieces

Alexis fitting glass pieces.

Julia and Sandi placing pieces

Sandi placing final touches on the Koali.

Lorraine coming down the home stretch placing last pieces.

Calley is marking the edges to be refined by grinding, ensuring each grout line is elegant and flowing. Once all the pieces are in place, the segments are mosaic-taped and stored until it is time to install them at the airport.

At the start of the new year, Calley and her team shifted into high gear, to complete Wall 1. Her goal is to direct peoples' attention to the message of the Kupuna to take care of the Earth. With Wall 2’s Koali base safely tucked away, Calley focused on designing the 8.5’ Living Quilt Ulu Mandala, with its flowing lava base.

We are moving into adventurous territory, experimenting as we work with glass ulu fired from recycled wine bottles. We found professional mold makers in Goddard, Kansas, who ordered fresh ulu from Florida to create our fabulous ulu molds.

When Calley asked Lincoln Kalama of West Hawaii Concrete, “What’s the thinnest you can cut lava?” He replied, “3/4”.  Calley said, “I need ¼”.  They tried it and succeeded beyond our wildest dreams, creating an impressive truckload of gorgeous stone ‘lace'.  We painstakingly cut the stone with a ring saw in our studio.

Unsatisfied with the gold glass on the market and even the gold we designed for her Kipapa School mural, Calley worked with Bullseye Glass of Portland, Oregon to cast a shimmery pale gold for the background of the ulu mandala.

Coloring the cartoon before choosing glass is crucial to determine which shade of green to place where. Calley is always seeking balance and symmetry in choices of color, texture, and patterns in the glass. This print may be made available as a Patreon gift.

Once again, symmetry comes into play as Calley drew and refined the upper right quadrant and mirrored it throughout the rest of the mandala. Each glass piece is cut four times, two up and two down to place one on each quadrant. This is the original drawing before it is numbered or reproduced at 400%. The math and registration alone are daunting.

Many layers of refinement go into the numbering, line-sharpening, and reshaping to ensure smooth elegant lines (our mantra) before the first Mylar pattern piece can be cut. Each quadrant and every piece is marked with its directional arrow from the top right to orient the work.



Calley’s original drawing of the Light at the Center of the Earth base is connected to the mandala by a glass border formed from firing and cutting recycled wine and sake bottles. Lamar scrubs the bottles, slumps them in the kiln, cuts, and fires them into plaques similar to The Thin Blue Line.

Rochelle at XPress Reprographics is our printing guru. We could not do this mural without her. Mylar patterns make it possible to have a stable full-scale waterproof ‘cartoon’ base and strong cutting patterns.

Lorraine and Julia carefully cut out the segments in preparation for mounting them on the WEDI base and taping their edges.



Lines must register exactly to ensure that the pattern is true. Gridlines are also helpful.



Cutting the WEDI into 11 segments is no small task. We wound up re-cutting the segments within an 8’ circle for a precise fit.

Glass selection is always an adventure. Design parameters such as color, harmony, texture, botanical lines matching the streaky glass lines, and availability of glass are only the beginning.

One Mylar copy goes on the WEDI base board and the second copy is cut into pattern pieces to trace on glass. It's all hands on deck to register and precisely connect the 36" wide Mylar strips into their monumental size and cut them into shape.

Some things can only be done by our fearless leader, Calley, like climbing onto the table, or designing, and making crucial decisions about where to cut the pattern for fitting.

Red-lining the final segment lines for cutting and placement on the WEDI base.

Precision counts. The segments must fit together flawlessly at every point, with space for grout in between.

Values from dark to light play together harmoniously as we select glass to portray the ulu leaves.   Glass that looks green in one light can appear black in another. It's tricky.

Calley worked with the casters at Bullseye Glass, Portland, Oregon, to create the gold glass for the ulu mandala and tree arches.

Now that the base patterns are taped onto the WEDI, it's time to channel-cut each piece, leaving 1/8” grout space in between.

Lorraine, Julia and Calley apply Aleene's Tack-it on the base to hold the pattern and glass pieces in place.

Each circular golden sticker marks the spot for a stainless steel screw and WEDI washer to mechanically hold the segments on the wall during the invisible installation.

Thanks to YouTube, we found the Creative Paradise Ceramics mold makers in Goddard, Kansas to create our ulu molds. They ordered fresh ulu from Florida and sent photos to ensure they had the right texture. We are beyond pleased with the final result. Shown below is their test, with a too-dark green color. Creative Paradise was so excited to be included in the process, that they donated the molds. Mahalo nui loa!  We are so grateful.

The mural project required a 12' x 8' shop table rebuilt by Jeff Quinn and Noa.

Wall 1 - Light at the Center of the Earth

One of Lorraine's many experiments with

melting glass on lava - ultimately too unstable.

Research photos for lava flow patterns

with beginnings of Calley's initial lava drawing

Lava cut into 1/4" thick slices.

Noa offloaded the delicate lava with care.

This glass is perfect for the lava flow.

The Lava is thicker than the glass for a dynamic relief.

Lily Cavaletto, visiting from Oregon, was happy to help by tracing pieces onto the lava.

Julie Anne and Lily filing pattern pieces for future reference in case we want to change the color.

We are very grateful to the Kasser Ohana for funding the native tree arches on all eight walls of the mural.

The native 'Amakihi and Palila birds shown here will be crafted in glass mosaic and Calley will enhance them with painted details.

AN OPPORTUNITY TO SUPPORT CALLEY AND HER TEAM

INVITING 100 OF CALLEY’S TREASURED SUPPORTERS

TO PLEDGE $20/MONTH

TO SUPPORT CALLEY and the MĀLAMA ‘ĀINA MURAL

at ELLISON ONIZUKA KONA INTERNATIONAL

AIRPORT at KEAHOLE

Support Calley and her dedicated studio assistants in their work.

Throughout history, artists have relied on patrons to support their creative endeavors. In this time of unprecedented change and challenge, creatives need support more than ever. The mural project has been blessed with dedicated volunteers who give all they can. If the two exceptionally talented key team members were supported financially in their giving, their lives would be better, and the mural would progress more efficiently. 

Enter PATREON, founded in 2013 as a platform that connects artists with patrons and gives the patrons a backstage pass into the artist’s creative process. PATREON believes that artists are essential to the community and society as leaders bringing people together around shared passions and values, in this case, the living world we all depend upon.



WELCOME TO CALLEY'S PATREON SITE!

There are five easy ways to support Calley and the mural and strengthen her voice for nature and our future. We are announcing the launch of Calley’s PATREON and fledgling Instagram site @MalamaAinaMural. Your monthly contribution of $5/month or more sustainably supports Calley directly on this monumental project as a passionate advocate for nature and traditional Indigenous wisdom.

Your contributions can add up to a life-changing salary for Calley and her team and offer you special gifts of gratitude.

1.  PATREON LINK

2.  INSTAGRAM

3.  THE THIN BLUE LINE

4.  SPECIAL ELEMENT PATRON

5. SHARE OUR UPDATES AND SUBSCRIBE TO THIS NEWSLETTER

BE A PART OF THE FLOW!

CalleyONeill.com/KonaAirportMural.html

Calley@CalleyONeill.com

Julia@CalleyONeill.com

Calley - (808) 987-7003

Julia - (808) 557-0363

If a picture is worth a thousand,

you just read 83,000 words!

Designed and produced with love and aloha by

Calley O'Neill and Julia Fairchild

KOA AIRPORT MURAL OHANA

more than 54 thus far

So many hands have worked on this mural thus far, and here they are!

 MAHALO A NUI LOA to each and every one of you!

OUR CORE TEAM:

CALLEY O’NEILL

NOA EADS

JULIA FAIRCHILD

LAMAR YOAKUM

LORRAINE DUTTA

CHRIS SPRINGER

We welcome Julie Anne Chia to our team as a highly skilled and talented volunteer.

We gratefully acknowledge and thank:

HAWAI’I STATE FOUNDATION ON CULTURE AND THE ARTS. Calley’s extraordinary Art Advisory Committee, and Project Manager, Aaron Ackerman

ELLISON ONIZUKA KONA INTERNATIONAL AIRPORT AT KEAHOLE’s LEADERS OPERATIONS and SECURITY TEAM:

Superintendent, Chauncey Wong Yuen, Assistant Superintendent, Cy Duvauchelle, and their remarkable staff. 

Mahalo David Bell, Dexter Espinueva, Lahela Lau, and Paul Knoll, and teams for your support.

Mahalo nui to OUR BELOVED MURAL KUPUNA,

those on and behind the wall guiding the mural to inspire us to live in harmony with nature and each other.

And our COMMUNITY COLLABORATORS thus far:

ALEX ECKHART

ALEXIS RUSSELL

AMY O’MEARA

ATTICUS HIGGINS

BRYAN GAZAUI

BUCKMAN COE

BULLSEYE GLASS, KYLEA BROWN

ELI O’MEARA

ANNABELLE URIBE

(the late) BEVERLY ARNTZEN

BULLSEYE GLASS, Portland, Oregon

CASEY GRANT

DINA ALOHA

DEB THOMSPON

DOMIINIC HILMAN

ELIZABETH ROSE

‘IWALANI MC CALLA

JAMIE GOMER

JAZMIN HICKS

JEFF and JAKE CLOSS

JEFF QUINN, CARPENTER

JEREMIAH HOLQUIJN

JOE AND ERIN CAVALETTO

JULIE ANN CHIA

KASEY GRANT

KATHLEEN THOENE

KEN CANNATA

LEE GLENNAN MOTTER

LEIANNA EADS

LILY CAVALETTO

LORRAINE DUTTA

LORETTA LINDEN

MARC BOTTICELLI

MICHAEL HESS

MIKE BURNETT, TNC

MOA KITCHEN

THE amazing NAN TEAM

NORTHWEST ART GLASS, Seattle, Washington: Owner, Richard Mesner, Matt and Missy Laitala, Joe and crew

OLIVER ZEICHNER

PEACH GODDARD

RACHEL WALKER

REDWING KEYSAR

ROSA GUZMAN

SANDI PLAYSTED

SHELLEY REAGAN

THOMAS HOLQUIN

VEENA HOPSON

VERONIKA BAJWA

VIRGIL MACY, WEST HAWAI’I CONCRETE

ROCHELLE PITOY, XPRESS REPRO-GRAPHICS and

MATTHEW PIERCE, WAIMEA INSTANT PRINTING

YASI ZEICHNER