Noa (to be free from kapu) engages with the introduction of foreign religions to the Kanaka ‘Ōiwi community. At the centre of this work is the image of an ‘aumakua (ancestral figure) breaking through the stained glass of foreign teaching. Within the shards of broken glass, the faces of Jesus and his disciples are visible against the backdrop of towering concrete buildings juxtaposed with unfilled excavation pits from the controversial H-3 freeway construction. From a Hawaiian perspective, you do not leave an open hole because it will be filled. The image is a powerful statement on the relationship that prevails between these two sources of knowledge and inspiration.