Community Calendar

Biophilia is a collaborative exhibition by Helena Noordhoff and Erik Sullivan, featuring painting, printmaking, and ceramics. The work explores how protective forms in nature act as symbols and metaphors for protection within the human psyche, reflecting processes of adaptation, healing, and transformation.

Waimea Town Market at Parker School is home to over 50 highly curated vendors who offer a wide variety of terrific produce, food and locally sourced and hand made items. Please join us, talk story with our vendors, learn about their businesses and crafts, and enjoy breakfast or lunch at our picnic tables with the Mauna Kea view—where North Hawaii comes together.

The public is invited to the opening of the in-person Punahou Carnival Art Gallery, the largest art show in the state. Featuring more than 1,000 artworks by nearly 300 Hawai‘i artists, the gallery includes paintings, prints, drawings, sculptures, ceramics and glass.

A special preview for art enthusiasts will be held Tuesday, Feb. 3, from 5:30 – 8:30 p.m. at the Bishop Learning Center, Punahou School. This preview precedes the main Punahou Carnival, offering an exclusive first look at the collection. The gallery reopens during the Carnival, from 11 a.m. – 10 p.m. on Friday, Feb. 6, and from 11 a.m. – 9 p.m on Saturday, Feb. 7.

The Art Gallery is a highlight of the Punahou Carnival. Planned by the Junior Class of 2027, this year's Carnival theme is “Welcome to the Jungle: Carnival 2026,” infusing the event with a spirit of exploration and adventure. Sales from each art piece will support Punahou Carnival’s fundraising efforts for student financial aid, with proceeds evenly shared between the artists and Punahou.

This exhibition takes the viewer on a journey through the diverse regions of the Philippines featuring centerpieces of Filipino attire, from the southern Muslim and Indigenous communities in Mindanao, to the Indigenous communities in the northern Luzon region, to the predominantly Roman Catholic central Visayan Islands, to the national dress associated with Manila.

Honoring the deep connection between Hawai'i and the Philippines, a display of historical photographs shares the story of the Sakada, the first 15 Filipinos who immigrated to Hilo, Hawai'i, as labor workers in 1906.

Painters and ceramicists collide in "Forms of Voids." Two local artists—painter Kloe Kang and ceramicist Suzanne Wolfe—explore the symbolic power of the bowl, bridging the gap between ethereal painting and tactile clay.

After first collaborating in 2007 at the Honolulu Academy of Arts (Linekona), Kang and Wolfe reunite for a shared investigation of one of humanity's most elemental objects. The exhibit uses the simple form of a "bowl" to explore complex themes of identity and physical reality.

In this renewed partnership, the artists transition from sharing a studio to sharing a conceptual anchor. Kang’s paintings function as "visual pronouns" exploring the ephemeral state of being, while Wolfe’s ceramic forms remain rooted in material reality, layered with intricate text and imagery. It is a compelling look at how local artists collaborate and evolve across different mediums over decades.

This exhibition takes the viewer on a journey through the diverse regions of the Philippines featuring centerpieces of Filipino attire, from the southern Muslim and Indigenous communities in Mindanao, to the Indigenous communities in the northern Luzon region, to the predominantly Roman Catholic central Visayan Islands, to the national dress associated with Manila.

Honoring the deep connection between Hawai'i and the Philippines, a display of historical photographs shares the story of the Sakada, the first 15 Filipinos who immigrated to Hilo, Hawai'i, as labor workers in 1906.

Painters and ceramicists collide in "Forms of Voids." Two local artists—painter Kloe Kang and ceramicist Suzanne Wolfe—explore the symbolic power of the bowl, bridging the gap between ethereal painting and tactile clay.

After first collaborating in 2007 at the Honolulu Academy of Arts (Linekona), Kang and Wolfe reunite for a shared investigation of one of humanity's most elemental objects. The exhibit uses the simple form of a "bowl" to explore complex themes of identity and physical reality.

In this renewed partnership, the artists transition from sharing a studio to sharing a conceptual anchor. Kang’s paintings function as "visual pronouns" exploring the ephemeral state of being, while Wolfe’s ceramic forms remain rooted in material reality, layered with intricate text and imagery. It is a compelling look at how local artists collaborate and evolve across different mediums over decades.

This exhibition takes the viewer on a journey through the diverse regions of the Philippines featuring centerpieces of Filipino attire, from the southern Muslim and Indigenous communities in Mindanao, to the Indigenous communities in the northern Luzon region, to the predominantly Roman Catholic central Visayan Islands, to the national dress associated with Manila.

Honoring the deep connection between Hawai'i and the Philippines, a display of historical photographs shares the story of the Sakada, the first 15 Filipinos who immigrated to Hilo, Hawai'i, as labor workers in 1906.

Painters and ceramicists collide in "Forms of Voids." Two local artists—painter Kloe Kang and ceramicist Suzanne Wolfe—explore the symbolic power of the bowl, bridging the gap between ethereal painting and tactile clay.

After first collaborating in 2007 at the Honolulu Academy of Arts (Linekona), Kang and Wolfe reunite for a shared investigation of one of humanity's most elemental objects. The exhibit uses the simple form of a "bowl" to explore complex themes of identity and physical reality.

In this renewed partnership, the artists transition from sharing a studio to sharing a conceptual anchor. Kang’s paintings function as "visual pronouns" exploring the ephemeral state of being, while Wolfe’s ceramic forms remain rooted in material reality, layered with intricate text and imagery. It is a compelling look at how local artists collaborate and evolve across different mediums over decades.

This exhibition takes the viewer on a journey through the diverse regions of the Philippines featuring centerpieces of Filipino attire, from the southern Muslim and Indigenous communities in Mindanao, to the Indigenous communities in the northern Luzon region, to the predominantly Roman Catholic central Visayan Islands, to the national dress associated with Manila.

Honoring the deep connection between Hawai'i and the Philippines, a display of historical photographs shares the story of the Sakada, the first 15 Filipinos who immigrated to Hilo, Hawai'i, as labor workers in 1906.