Drew Kahuʻāina Broderick

Mānoa, Oʻahu, Hawaiʻi

Artworks shown are selected from works submitted by the artist in their grant or residency application. All works are copyright of the artist or artist’s estate.

About Drew Kahuʻāina Broderick

Headshot of artist Drew Kahuʻāina Broderick

Drew Kahuʻāina Broderick is an artist, curator, and educator from Mōkapu, a peninsula between the bays of Kāneʻohe and Kailua, on the windward side of the island of Oʻahu, in the Hawaiian archipelago. Currently, he serves as director of Koa Gallery and an instructor in the Arts & Humanities Department at Kapiʻolani Community College. In 2022, he was an associate curator of Hawaiʻi Triennial: Pacific Century – E Hoʻomau no Moananuiākea. In 2019, he co-founded, with filmmaker Sancia Miala Shiba Nash, kekahi wahi, a film collective focused on documenting stories of transformation. From 2015 to 2018, he was a contributing member of artist collective PARADISE COVE, with whom he produced exhibitions and art-related events. Between 2012 and 2016, he operated SPF Projects, an artist-run initiative dedicated to building capacity for the production, display, and review of contemporary art in Honolulu. In 2013, he co-founded with community organizer Maile Meyer, CONTACT, an annual, open-call exhibition exploring the notion of “contact” as it relates to Hawaiʻi. Collaborative projects in development include ʻAi Pōhaku, Stone Eaters (2023); I OLA KANALOA (2019–), with curator Josh Tengan; and Revisiting Kealakekua Bay, Reworking the Captain Cook Monument (2018–2024), with a motley crew of international artist practitioners.

Program Participation

Joan Mitchell Fellowship, 2022

Website / Social Links

I am guided by the intergenerational efforts of family, friends, and frequent collaborators active within different communities across Hawaiʻi. Informed by my multiethnic heritage, especially my Hawaiian roots, my work challenges dominant narratives through local knowledge, critically intervenes into public and private spaces that perpetuate whiteness, humorously reappropriates motifs of entwined military and tourism industries, and mashes up settler colonial and Indigenous worldviews in service of hybrid perspectives.”