Edit ModuleShow Tags

Dana Paresa: Why I Left Hawaii

Guess what? Another promising Honolulu artist moved to Portland, Ore. What gives?


(page 2 of 2)

Illustrations: Dana Paresa

Portland just suits my personality better. Hawaii offered a nice little market for my kind of work, but now I’m submerged in a bigger arts scene where I’m one of many. Artists are a dime a dozen here. That feels cool, because I have to try harder. It’s motivating. It’s great to be surrounded by all these people who have similar goals. There are a lot of people who truly believe they’re going to be artists. In Hawaii, so many people feel it’s impossible to be a working artist because there aren’t a lot of galleries in Hawaii to show. I don’t even know if those galleries try to seek out different people. I’m talking about opportunities for artists in general rather than the feeling that people always pick people they already know.

Hawaii offers a very warm embrace—in keeping with the tradition of the Hawaiian community values of protecting each other. I’m not embarrassed about being Hawaiian. In fact, I’m very proud of my heritage. But I don’t want it to be the reason I’m successful. I want my artwork to be judged on the work, because I’m good at what I do. Who I am personally should matter a lot less, if at all.

Dana Paresa’s illustrations, exhibited at ii Gallery last year.

I don’t know if I got those shows at ii Gallery because I worked at R/D, or because I’m Hawaiian. But that felt like a double whammy of: She’s right here anyway; let’s give her a show. The first-time offer was presented as, “We have a hole; do you want to fill it for a two-week show?” I love that I was given the opportunity, especially the first time. The second time, I felt bad, because it’s just a great space and I wished other people could have had that opportunity.

I think my plan of action in a place with so many art jobs, is keep doing what I did in Hawaii: working on my art, expanding and experimenting with my own stuff. One of the cool things about Portland is that materials are cheap and there are a lot of places to share your work: a comic-book shop where you can sell your zines, venues that will do whatever you want. There’s truly something for everybody.

I don’t think people should be offended when somebody leaves Hawaii, because it totally makes sense to leave. Even King Kalakaua was the first Hawaiian king to go to Washington. It’s okay to leave home and see the world.

You could live a full life by staying in one place, but it’s not the path that I want to take. I want to see what I studied in art history. I’m a visual person, so I need to be in certain places in order to experience them.
Since I want to do national work—that’s my ultimate goal—I don’t think that I could expand into it unless I move beyond hometown magazines. If I work in other states, such as for Portland magazines, it can lead me to different places and challenges.

In Hawaii, I worked with and for people I knew personally. In Oregon, I have the opportunity to work with art directors I’ve never met. Doing illustrations for national magazines has been my goal for a while, and I’m working toward that. I don’t want to work in a coffee shop anymore, because I often lost my focus. In Portland, I can afford to work from home, doing only illustration—actually afford to live in my own place, while practicing and pushing myself. That was impossible for me to do in Hawaii.

Hawaii does have its moments. For example, at the end of last year, Wei Fang wanted to do a show at R/D in Kakaako, bringing in Raymond Pettibon’s punk album cover art. I thought that was awesome. Totally opened my eyes. It was to have been this huge wall of illustrations. Unfortunately, funding wasn’t available to ship it all over.

But studying Pettibon’s work during that time led me to look at inking illustration as a medium. I thought I should learn how to do that. It’s interesting, striking and something I could do in my own work. So I looked up Stan Lee’s “How to Draw Comics the Marvel Way” on YouTube. Yes! I learned how to ink from Stan Lee and bought the brush suggested on YouTube. I practiced at home a lot and taught myself how to work with Adobe Illustrator, how to get it to look how I wanted it to, while still making people like that style. I started getting jobs, and everything just worked out. Portland is teaching me, exposing me to other new things.

I might move back at some point even if I succeed in working for a national publication. If I got a job with a magazine such as The New Yorker, I could work in and from Hawaii and just send work over online. Right now, I’m on the cusp of something, so I can go either way, and follow where the work takes me.

I hope to see expanding opportunities in Hawaii for creative artists because Hawaii could be a destination for arts and culture. Nobody should ever feel like they’re in a rut in Hawaii. I don’t think that staying in Hawaii forever is the wrong or right thing to do; leaving was just the best thing for me.      

Edit ModuleShow Tags Edit ModuleShow Tags Edit ModuleShow Tags
Edit ModuleShow Tags
Edit Module

Subscribe to Honolulu

Honolulu Magazine March 2020
Edit ModuleShow Tags



9 Greatest Honolulu Homes

Great Homes

Stunning, historic, extraordinary.


Can the Mainland Do Poke Right? Do We Want Them To?​


Martha Cheng, author of The Poke Cookbook and former line cook, talks about how a New York City publisher decided Hawai‘i’s favorite pūpū was for everybody.


50 Essential Hawai‘i Books You Should Read in Your Lifetime


The most iconic, trenchant and irresistible island books, as voted by a panel of literary community luminaries.


Everything You Need to Know About Local Fruit in Hawai‘i


Fruits are part of our history and culture, a way for us to feel connected to our community.


A Local’s Guide to Buying Reef-Safe Sunscreen


Five Hawai‘i brands have created reef-safe sunscreens that are safe for your ʻohana and the ocean. 

Edit ModuleShow Tags