An Interview With

HERVE MONTAGNE

The day is very young. My exploration into Oahu's art scene takes on new parameters. I find myself once again neatly tucked away under the gracious, flamboyant tree, just outside Gerardo Maza's comfortable Manoa home. In the course of chatting about some of his latest ideas, he mentions that it would be good for me to meet Herve Montagne, a young French multi-media artist who lives close by.

As I look over some biographical background information about Herve, I discover that he, like Gerardo and myself, has visited some of the world's most fascinating locales. The only thing that upstages my hearing about Herve is the forthcoming meeting in person, an arranged rendezvous, courtesy of Gerardo, that represents the start of a new journey. Today, we don't need to go very far to spend quality time together as Herve comes to meet us at Gerardo's. As he pulls into the driveway, the amiable 41-year old artist exudes a charming European demeanor, which includes a definite passion to continue cultivating a Bohemian artist lifestyle.

The details, as Herve relates them, are that his Earth pilgrimage began at birth (circa 1961) in the rural hills of Southern France. True to his yearning to broaden his horizons, he traveled to Utrecht, Holland, near Amsterdam. He was fascinated by the bustling city and its thriving arts scene. It was there that he was influenced by many artists.

After two years of intense study, Herve returned to his native country to continue his Fine Art study at Nimes, and eventually Nice on the French Riviera. This trend continued unabated from 1983 through 1986.

Opportunities to exhibit a variety of his finished impressionist canvases at Villa Arson in Nice, and in Florence, Italy, spurred him on to get involved in other art media, including filmmaking. A stint in Barcelona enabled Herve to complete a short residency there in 1984. Amsterdam drew him back into its fold for yet another two years of experimentation in multimedia.

Herve's desire to see more to see more of the world was renewed in 1987. Over the course of a year, he traveled through Hungary, Croatia, Yugoslavia, Albania, Greece, India, Nepal, Tibet, and China. As Herve and I exchange informative details about the places we love, the details concerning his fondness for travel gradually emerge. Herve confides in me, with characteristic French aplomb, that he greatly relishes being an unabashed hedonist while meeting fellow travelers along his route. I got a sense of him being as comfortable dining in the outback of the Sahara with nomadic tribesmen as in a palace in Monte Carlo amidst nobility. The presence of opened bottles of French wine, mingling with select wedges of brie cheese, and ample gourmet foods adorning his small but well-equipped
kitchen, are a testament to entertaining a Picasso-esque, hedonist Bohemian lifestyle. We smile amidst ample servings of sumptuous gourmet French cuisine and toast to new adventures.

As the mellow afternoon unfolds, I learn more details. Herve's rambling "past life sojournments" have led him into the bustling heart of New York's inner city, where he worked in an art museum, shared loft space, studied set design for two years, and landed a job as an assistant director for a theater company. Having become addicted to "wanderlust, jumping-bean fever," Herve's mobile lifestyle included a couple of ensuing years of in-depth residence and travel through Colorado, New Mexico, Nevada, and Utah. It was there that spacious vistas contributed to the blissful abstract style that adorns much of his work. For Herve to excel has required great vision and uncompromising perseverance.

Leaning over a living room coffee table, Herve is quick to emphasize
that his chosen profession, coupled with life as a family man with his exuberant wife Eva, and young son, Gabriel, is by no romantic stretch of the imagination 100% stress free. During these times of great upheaval, there are survival concerns. For starters, his black dog has been sick for a week, his young son is raising hell to get more attention, and the challenge of having to make a living from his art provides definite structural tension. Nevertheless, his joy of creating remains very, very strong.

As I looked over a number of photos of his many oil paintings and multimedia sculptures, I began to get a sense of the thrust of his work. As Herve expresses it, "I always believed that art is a language and a way for people to let go of their stress, and to gain different perceptions of what they are experiencing in their own life." Herve says that the reason he continues to explore various chosen media is that the experience of creating is medicinal for the growth of his own soul. In this way, art plays an important role as a vehicle for more in-depth self-discovery. The purpose of his artistic focus is also to promote balanced interchanges between himself and his clientele based on the ongoing need for greater fulfillment. Initially, he receives spiritual inspiration, which is transmitted to viewers as his work evolves.

Herve's initial motivation for executing finely crafted, visually pleasing creations, is to continue to explore the inner workings of spiritual realities. Following the path of the heart is an infinite journey that embraces many parameters with one overall purpose to increasingly delve more deeply into the realms of sacred experience, broadening perception and sharing untold blessings.

A possible role of Herve's art is to convey to the onlooker a definite sense of natural beauty that which is wedded to the temporal, yet too, the eclipsing of the time/space continuum. The idea, as he intimates, that "art is a language, and can be a way for the experiencer to let go of their stress, and as such," is therapeutic. The impressionist themes can convey the theme of unitive consciousness promoting meaningful cross-cultural interchanges between peoples of many diverse backgrounds and varying temperaments.

In adding better definition to our innermost yearnings for experiencing wholeness, limitless growth potentials exist. This is particularly evident in Herve's art, as our sensibilities attune to the subtle, interplay of light, color, and form. Wandering across the far reaches of the planet highlights the unusual. The influences of exotic foreign travel have created an intermingling of diverse artistic styles, each with distinct cultural patterning.

Gazing at one of Herve's latest sketches of outstretched palms, I see various mystical symbols emblazoned on their surfaces, reminiscent of what one might encounter by wandering through a Moroccan bazaar. The work has a Bedouin feel to it that creates the air of having one's own palms read, or even indulging in having an intricate henna tattoo inscribed therein.

Other captivating themes abound in Herve's art. There is a synthesis of integrated styles, ranging from super abstract expressionist renditions to more realistically identifiable graphic elaborations that are both pleasant and strikingly surreal. Just as I'm learning more about Herve, the topic of conversation turns to possible nearby places to visit. Gerardo mentions one of his favorite places the Korean Zen Sanctuary, known as Mu Ryang Sah, is only a 15-minute drive away. Herve and I instantly pile into his Saab and we are off on a back street urban adventure! Searching for the elusive hidden treasure eventually yields magnanimous dividends. As it turns out, the zendo is a perfect place to enjoy gorgeous sweeping vistas of Honolulu and to share some quiet moments in the midst of sculpture gardens, replete with pools of water filled with delicate lotus blossoms. The passage of twilight is so enchanting that in the Zen moment, we are transfigured by the surrounding magnificence.

The interior of the exquisitely carved main temple is a delight to behold. In front of us, on the altar, are fragrant offerings of incense, candles, and flowers. Beyond this, sit three presiding golden Buddhist deities. The experience is one that can remind pilgrims to revere silence by being mindful. Herve comments that his education concerning Polynesian cultural themes includes the enchanting Hawaiian idea that silence is the perfect vehicle for profound communion with Nature.

There are more practical aspects, too, to our visit to the zendo. We greatly appreciated how the scintillating beauty allows us to reflect deeply on the idea of magical synchronicities within the Universe. Standing by a serene lotus pool, we both notice some dry seed pods. Just then, a monk with a shaved head and a bright flowing robe whisks by. We talk with him briefly about possible uses for the pods. Nodding his head affirmatively, he gave Herve permission to collect a few. Herve's intent is to utilize these foraged items as part of a forthcoming sculpture. Part of Herve's ensuing plan is to continue to create powerful collages appealing not only to a heightened sense of visual awareness, but also of expanding deep inner feeling states of being.

Although Herve expresses the idea that his "specific creations have beginnings and endings," this can only partly define their existence. The bigger picture looms in front of us as the timeless, ever-existent unfoldment of eternity, as innate perfection within every supercharged moment.

What better place is there to rediscover this than within our own beings? As such, sacred art incorporates the natural elements of life to heightened degrees. Consequently, there is a blending of both inner and outer realization. According to Herve: "The result of the completed art work is not the most important aspect, but rather what is most notable is the process itself." Art provided by Mother Nature, as evidenced by the attributes of the natural world, is the sustenance so continually beneficially gifting itself to humans in so many forms. Such is the nature of Tao uniting all planes of existence.

As Herve elaborates on this progression: "The focus of the artist is to
perfect the techniques and skillfully apply the renderings offered by the natural world." Herve laughs and says "Creating art is very fulfilling but also at times very exhausting like running a marathon." He acknowledges that the act of creation can drain energy, but the reward is that when the piece is finally executed, there is a sense of satisfying relief. Relating to creative self-expression as naturally life enhancing, art is, essentially, healing energy within one's spirit that engenders the experience of wholeness.

There are dimensions to art that go way beyond all superficial facades. Herve sees his chosen media as infinite dynamic process of awareness, teaching the participant lessons of sublime presence through the expression of interactive elements. How the artist approaches the blank canvas is a statement about their own personal involvement, their commitment to explore untold wellness.

In terms of art successfully playing enlightened roles in improving
conditions, free expression of living enrichment is the goal. Herve affirms that being centered in the now is the most important discipline for as he contemplates it when he "stops thinking about yesterday or tomorrow," in creating a dynamic context for self-healing, there is a lightening, a complete freedom from fear, and an achievement of the emptiness of the mind that embodies harmony." He speaks of this as a way of clearing out unproductive mental states, and a superior way to approach the start of new art creations. Believing that humans are fully capable of creating balance through this inner energization process, he says that his ability to accomplish his cherished goals is a confrontation of what he wants, who he is, and the battle of his personal life. Essentially, genuine transformation concerns itself with embracing the alchemy of perpetual change through expanding capacities to give and receive love, when and wherever the open heart is involved, the stage is set for possible miracles.

As my time together with Herve draws to a close, I'm left with a sense of gratitude for having met this wise, talented artist. There are new cycles on our doorsteps that are great oracles for on-going realization. If, perchance, you do happen to glance towards Mecca and see one of these signature "palms" I mentioned earlier, be sure to see where it leads. Until our paths cross, enjoy being centered within. For more information about Herve and his splendid creations, please refer to this Earth Wave Productions web site for more updates.

AUMAKUA ONE

Aumakua, as defined in the Hawaiian dictionary, is a family or personal God.

Interestingly enough, no further elaboration is made as to what or who constituted an Aumakua. The very concept of Aumakua is not easy to explain, although a parallel might be seen in the use of certain American Indian totems. Aumakua is the spirit, Aumakua are useful, protective, and benevolent as well as destructive and mischievous, depending on what side of the Aumakua you happen to be pomatum can take many forms, that of a spirit, an animal, an inanimate object such as a stone, rock, mountain or gourd, or an ethereal thing such as thunder. Most Aumakua are past on within the family from generation to generation ....

My Aumakua is a part of my spirit, it's also my compass, and my totem. The sculpture composition is based on the four directions, (north, west, east, south). The volcanic stone on the table is connected to the 4 small bags made from leaves. Each bag having a different design. In each bag there is a small volcanic rock, the purple amethyst velvet is a symbol of spirituality and connection to God. The Wheat is a symbol of peace and the holy bread. The small leaf bags are symbols of nature and the color Green. The volcanic stone is the symbol of knowledge and power, also related to the God Pele ( goddess of the volcano for the Hawaiian people). Finally the whole composition is a symbol for peace in the world.