Identity and belonging


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  • Identity and belonging

    1. 1. Identity & BelongingHumans are social beings. The human race is made upof various groups of people: a family, a clan; a tribe, avillage; a country, a nation. Collectively these smallergroups make up the many documented cultures we knowabout. Cultures have traditionally expressed their identity Stonehenge:through their own unique forms of visual expression, c. 1650 B.C.whether it is in the form of ceremonial costumes and body Salisbury Plain, Wiltshire,painting, or large painted canvases, public sculptures and Englandiconic architecture. Maori guardian figure: Wenderholm, New ZealandTorch Ceremony: Fiji Tapa: Fiji
    2. 2. From our tribal beginnings, visual symbols of culturalidentity have intended to demonstrate and reflect thespiritual beliefs, traditions and the land of origin of eachparticular group of people. Initially, tribal cultural artforms were transient in nature, however during greatcivilizations, the art works produced have remainedpermanent and awe-inspiring. Francois Rude: "La Marseillaise", 1833-36, Arc de Triomphe, Paris Stain glass window: Milan Cathedral, MilanMichelangelo: ceiling Michelangelo: "Moses",of the Sistine Chapel, c.1513-15, San Pietro1508-12 (Old Testament in Vincoli, Romecreation story)
    3. 3. Throughout history many social changes have occurred due to wars and famines, changing weather patterns, earthquakes and droughts, discoveries and achievements. Ink finger painting: Hong Kong Calligraphy artist: Hong Kong Some civilizations grew and others declined. Explorations and migrations resulted in some cultures transferring their values and beliefs to new lands.Castle door:Nuremburg, Germany Celtic cross headstones: Wexland, Ireland
    4. 4. Art through the ages has come toreveal a visual documentation –a storybook – constantly reflectingcultural values as they shift andchange. Changes affect identityas they blur the boundaries oftraditions. Thus, symbols from allaspects of our past repeatedlyreoccur and remain evident in our Pipe band, New Zealandcontemporary western daily life. 3D wall mural, MelbourneDespite these ongoing changes and fluctuations, an individual’s well-being dependson their personal sense of identity and belonging. Many contemporary artists, whilegrappling with the current effects of globalisation and cultural cross-pollination, findthemselves looking to past cultural aspects of their heritage as they attempt to cometo terms with their present sense of identity and belonging.
    5. 5. Artists Profiled Ani ONeill Dagmar Dyck Imants Tillers Joanna Fieldes Paddy Stewart Wi Taepa Zhong Chen
    6. 6. Ani O’Neill
    7. 7. “I have a passion for sharing what I have learnt overtime from my family, friends and teachers, including…how to love humble things and make the most of what you’ve got! It’s sometimes very hard work, but I feel incredibly grateful to be an artist and appreciate that I can share my efforts with others. I hope my projects create a space for all to appreciate art and craft in a thoughtful way, regenerating inspirational and positive, creative energy in us all.”
    8. 8. The Buddy System (detail) 2006
    9. 9. The Buddy System 2004 Art in General, NYC
    10. 10. Working drawing
    11. 11. The Kikau Broom Project: Students prepare the Kikau leaves 2006 Papaaroa Adventist School, Titikaveka, Rarotonga, Cook Islands
    12. 12. The Kikau Broom Project (2006)Ani ONeill with Papaaroa Adventist School. Adam Art Gallery, Wellington
    13. 13. Pacific Sisters 2002 Fifa B, Karlos Quartez, Sistar Spacific and Ani ONeilllperform at the 10th Anniversary of the Pasifika Festival
    14. 14. Dagmar Dyck
    15. 15. “My art is a celebration of my identity and cultural heritage: Tongan, German and New Zealand. I have a fascination and admiration for Polynesian artwork, especially the beauty of ‘functional Pacific art’.I am sensitive and protective of my Polynesian heritageand I wish to create a harmonious blend of my different cultures – to focus on the value of preserving them in a contemporary vision.”
    16. 16. identity (left), belonging (right) 2001,Screenprints on Hahnemuehle paper, 420 X 600 mm
    17. 17. Working drawings
    18. 18. acceptance 2001Limited Edition screenprint on Hahnemuehle paper, 420 X 600 mm
    19. 19. placement 2001Limited Edition screenprint on Hahnemuehle paper, 420 X 600 mm
    20. 20. faifolau (to sail) 1999Limited Edition screenprint on Hahnemuehle paper, 600 X 820 mm
    21. 21. folau tahi III (voyage) 1999Mixed media and tapa on canvas, 1520 X 1560 mm
    22. 22. ngatu 70 ae 72 2001Mixed media and tapa on canvas, 1730 x 1540 mm
    23. 23. Imants Tillers
    24. 24. “My art practice is based on my concept of the ‘Canvasboard System’, where individual paintings made up of canvasboard panels are also part of a larger, ever-expanding whole. The first panels, which were begun in 1981, werenumbered from one to 49 and subsequent panels have been numbered consecutively, onwardsover the decades, towards infinity. This structure enables the pursuit of different themes and interests, from identity and diaspora to nature andthe landscape.”
    25. 25. Autumn Sun (Blossoming) 2006Synthetic polymer paint, gouache on 54 canvasboards
    26. 26. Working drawing for Blossoming 6 2006
    27. 27. Blossoming 1 2004Synthetic polymer paint, gouache on 54 canvasboards
    28. 28. Outback A 2004Synthetic polymer paint, gouache on 54 canvasboards
    29. 29. The Vortex 1984Synthetic polymer paint, watercolour, charcoal, pencil
    30. 30. Diaspora 1992Oilstick, gouache, synthetic polymer paint on 288 canvasboards, 120 x 360 inches
    31. 31. The Bridge of Reversible Destiny 19907445 panels; vitreous enamel on steel; gouache, synthetic polymer paint and oilstick on plywood; oilstick, gouache, oil and synthetic polymer paint on canvasboards; blank canvasboards 11.8 x 2.8 x 1.4m
    32. 32. Joanna Fieldes
    33. 33. “My paintings are my way of acknowledging the ignominious waysof our post-colonial history, of both Pakeha New Zealander and Maori. My subject matter is a social comment to provide food for thought – a reflection and a response to my understanding of my own heritage.I don’t attempt to pass judgment, but rather to evoke thoughts and awaken the mind with a sense of humour or a suggested twist of fate.”
    34. 34. Spilt Gravy 2006Oil on linen, diptych, 600 x 900mm
    35. 35. Lines Drawn 2006Oil on linen, 500 x 1400mm
    36. 36. The Headland 2006Oil on linen, 850 x 1400mm
    37. 37. Sources of inspiration
    38. 38. The Model Wife 2001Triptych, mixed media
    39. 39. Souvenir Cup 2006Oil on linen, 300 x 400mm
    40. 40. Meat in the Middle 2005Oil on linen, 750 x 125mm
    41. 41. Paddy Japaljarri Stewart
    42. 42. “We want our children to learn aboutand know our Law, our Dreamings. That iswhy we painted these Dreamtime stories. I have many stories that I paint:I am responsible for these stories and formaking sure that the stories stay strong in my culture. They tell us about where our ancestors came from, how our land wasmade, where to find food and water, how to make things and when to have ceremonies – everything!”
    43. 43. Wati Jurra Jukurrpa(Two Men Dreaming) Door #2 1984Acrylic paint on wooden door202 x 81.5cm
    44. 44. Wati Jurra Jukurrpa(Two Men Dreaming) Door #3 1984Acrylic paint on wooden door202 x 81.5cm
    45. 45. Paddy at work
    46. 46. Paddy Japaljarri Stewart sitting with Eliana Carmichael: bridging two worlds
    47. 47. Ngatijirri Jukurrpa(Green Budgerigar Dreaming)122 x 46cm
    48. 48. Ngatijirri Jukurrpa(Budgerigar Dreaming) 1984122 x 76cm
    49. 49. Yarla and Marlu Jukurrpa (Bush Potato and KangarooDreaming) 107 x 61cm
    50. 50. Wi Taepa
    51. 51. “Clay is the body of Papatuanuku –our Maori earth mother. I worked as a carverof wood first, and still draw upon traditionalMaori concepts, but clay gives me a freedomto explore my whakapapa (heritage) in waysthat woodcarving does not. Clay allows me to connect my imagination to the earththrough touch, as I shape and build with myhands. I want to honour the past and impact the future by modelling something new to Maori.”
    52. 52. Vessels of KnowledgeIpu 1 & 2: Whakamaharatanga series 2003Raku clays, oxides, slipsand terra sigillata31.5 x 5.5 x 5.5 inchesand 30.5 x 5.5 x 5.5 inches
    53. 53. Vessels of KnowledgeIpu 3 & 4: Whakamaharatanga series 2003Raku clays, oxides, slips
    54. 54. Working drawings
    55. 55. Some of Wis tools: 1. Shim (card cut into a half circle), 2. Styrofoam blade and 3. bent over steak knife wired into a hook or U-shape
    56. 56. Ipu (Kowhaiwhaii series)
    57. 57. Ipu
    58. 58. Hinaki Series #1 (Eel Trap) 2001
    59. 59. ZhongChen
    60. 60. “My paintings explore ideas about culture and identity, and especially my identity as a Chinese-born, Australian artist – I am continually exploring this.My works convey a sense of wanting tobelong and trying to belong to a new culture. Iuse a blend of old and new to define my pastand my present and to represent my identityas a Chinese-born, Australian artist. I aminspired by the bright colours of the Australianlandscape.”
    61. 61. Stupid Laughing #1 1996
    62. 62. Stupid Laughing #2 1996Oil on canvas 210 x 210cm
    63. 63. Stupid Laughing #5 1996Oil on canvas 210 x 260cm
    64. 64. From Stupid Laughing series,1996 Oil on canvas 80 x 80cm
    65. 65. Small study painting
    66. 66. Shanghai Nights, Oil on canvas
    67. 67. Shaolin Spin Kick Combo III 2001 Oil on canvas, 120 x 120cm