Tom and Yoko Haar's first joint exhibition of photography and ceramics at the Koa Gallery is an unconscious but interactive meeting of heart and mind. Odd, considering the couple celebrated their 20th wedding anniversary in February.

Born in 1941 of Hungarian parents, Tom was raised in Japan, where his father, well-known photographer Francis Haar, worked for 20 years. In 1960, the Haars moved to Hawai'i, where Tom Haar earned his Master of Fine Arts from the University of Hawai'i-Manoa eight years later.

Tom's last joint show at the Koa Gallery, in 1988, was with his father. Recently, Tom edited "Francis Haar: A Lifetime of Images," published by the University of Hawai'i Press. Inheriting his father's passion for photography, Tom has taught, lectured and worked on films, winning international awards and competitions for 26 years.

Tom met Yoko in Japan at an art gallery that was showing his work. Sixteen years younger than Tom, Yoko studied painting and graduated from Osaka University of the Arts in 1980. She began working with clay after the couple moved to Hawai'i from New York, and has shown her award-winning works since 1993.

Initially, the pair thought they would collaborate on a theme — water — for their current show. However, they ended up doing only one true joint piece: Yoko's "Undulation" is based on a digital photograph Tom took of water reflections. (And in preparing for the exhibition, Tom's focus shifted from water to palms.)

The couple found it easier on their relationship to focus independently. You wouldn't guess it viewing the show. Their strong connection is visible in their fascination with surface textures and subdued colors. His photographs and her ceramic tiles sing in harmony. One abstracts nature, the other finds the abstraction in nature. It works.

The paradox of this quiet show of minimalist art is that Tom and Yoko's linear link is palpable. Lines waft across each of their pieces like a loaded loom.

In a fast-paced, the-wilder-the-better art culture, it's refreshing to take a few moments to luxuriate in a show that lets you breathe and think about what we notice, how we see things and how it all connects.

Did you give each other feedback while working on the exhibition?

Yoko: During the final preparation of the show, I spread all my tiles out in many areas of our home. I appreciate Tom's understanding of my work because it is very difficult to look at one's own work in an objective way. I often asked my daughter for her opinion as well.

Tom: I didn't critique her work, but sometimes she asked for comments. She's influenced by what I say, and sometimes she regrets that. It's kind of tricky. I think we bounced off each other. It was a sense of discovery for me.

Is your daughter an artist, too?

Yoko: Monika is studying piano at Oberlin Conservatory of Music. When she was practicing piano at home, she would, on occasion, also ask me to comment on her playing.

When did you start working on the show, considering it was scheduled seven years ago?

Yoko: I started working on these pieces a few years ago. When I create composite pieces, they are comprised of nine to 12 tiles. Due to unforeseen accidents such as cracks or warps, I need to make extra tiles. When I start a work, I concentrate on the work with the same spirit. It takes quite a bit of time, perseverance and physical stamina.

Tom: My focus on a single topic began in earnest only six months ago. My initial attempts on the theme of water did not inspire me. During one outing, when I was photographing reflections on a pond, it started getting dark. While packing up, I turned around and saw a statuesque traveler's palm. I took photos of the bark in three segments, and that began my exploration on the theme of palm barks. On subsequent outings, I found the royal palm to be more varied, and ended up focusing on that.

Tom, can you tell me about the large-format camera you used?

Tom: Yes, most of the 16-by-20-inch black-and-white photos in this show were taken with a vintage World War II Crown Graphic 4-by-5 camera and Polaroid 55 film. I like this film because it gives a very fine- grain resolution. I felt that some of the palm surfaces had a calligraphic nature as well as a historic aspect. The older trees have scratches and scars on them from the spiked shoes the tree trimmers wore. But my main fear is that the digital film industry is changing everything, and the photographic supply companies will go out of business. I want to continue with this format until they no longer produce the film.

Yoko, your ceramic work is more two-dimensional than three-dimensional. Is this related to your painting background?

Yoko: When I look back at my early training as a painting major, I realize that even in those days, I used subdued colors and abstract imagery. Sometimes I scraped or scratched the surface, and sometimes, I used an indigo and turpentine stain. In essence, the only thing that has changed is the material. The technique seems to remain the same, although ceramics are more time-consuming. One panel of nine tiles can take six months to make, because I need to dry the tiles slowly to prevent them from cracking. I work out of the Hawaii Potters Guild now, but I am also looking forward to working at home in my newly acquired electric kiln.

Are you planning another joint exhibit, and would you recommend it to other creative couples?

Tom and Yoko, in unison: (Laughing) No!

Tom: I think it was a good learning process.