Cultures traditionally express identity through unique visual forms like costumes, paintings, sculptures and architecture. Throughout history, as civilizations changed due to events like wars, migrations spread cultural values to new lands. Contemporary artists grapple with effects of globalization on identity and belonging, sometimes looking to cultural heritage of the past. The document profiles several artists exploring these themes through mediums like painting, printmaking, sculpture and weaving.

2. Identity & Belonging
Humans are social beings. The human race is made up
of various groups of people: a family, a clan; a tribe, a
village; a country, a nation. Collectively these smaller
groups make up the many documented cultures we know
about. 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 England
iconic architecture.
Maori guardian
figure:
Wenderholm,
New Zealand
Torch Ceremony: Fiji
Tapa: Fiji

3. From our tribal beginnings, visual symbols of cultural
identity have intended to demonstrate and reflect the
spiritual beliefs, traditions and the land of origin of each
particular group of people. Initially, tribal cultural art
forms were transient in nature, however during great
civilizations, the art works produced have remained
permanent and awe-inspiring.
Francois Rude: "La
Marseillaise", 1833-36,
Arc de Triomphe, Paris
Stain glass window:
Milan Cathedral, Milan
Michelangelo: ceiling Michelangelo: "Moses",
of the Sistine Chapel, c.1513-15, San Pietro
1508-12 (Old Testament in Vincoli, Rome
creation story)

4. 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

5. Art through the ages has come to
reveal a visual documentation –
a storybook – constantly reflecting
cultural values as they shift and
change. Changes affect identity
as they blur the boundaries of
traditions. Thus, symbols from all
aspects of our past repeatedly
reoccur and remain evident in our
Pipe band, New Zealand
contemporary western daily life.
3D wall mural, Melbourne
Despite these ongoing changes and fluctuations, an individual’s well-being depends
on their personal sense of identity and belonging. Many contemporary artists, while
grappling with the current effects of globalisation and cultural cross-pollination, find
themselves looking to past cultural aspects of their heritage as they attempt to come
to terms with their present sense of identity and belonging.

6. Artists Profiled
Ani O'Neill
Dagmar Dyck
Imants Tillers
Joanna Fieldes
Paddy Stewart
Wi Taepa
Zhong Chen

7. Ani O’Neill

8. “I have a passion for sharing what I have learnt over
time 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.”

9. The Buddy System (detail) 2006

10. The Buddy System 2004
Art in General, NYC

11. Working drawing

12. The Kikau Broom Project: Students prepare the Kikau leaves 2006
Papaaroa Adventist School, Titikaveka, Rarotonga, Cook Islands

13. The Kikau Broom Project (2006)
Ani O'Neill with Papaaroa Adventist School. Adam Art Gallery, Wellington

14. Pacific Sisters 2002
Fifa B, Karlos Quartez, Sistar S'pacific and Ani O'Neilll
perform at the 10th Anniversary of the Pasifika Festival

15. Dagmar
Dyck

16. “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 heritage
and I wish to create a harmonious blend of my different
cultures – to focus on the value of preserving them
in a contemporary vision.”

17. identity (left), belonging (right) 2001,
Screenprints on Hahnemuehle paper, 420 X 600 mm

18. Working drawings

19. acceptance 2001
Limited Edition screenprint on Hahnemuehle paper, 420 X 600 mm

20. placement 2001
Limited Edition screenprint on Hahnemuehle paper, 420 X 600 mm

21. faifolau (to sail) 1999
Limited Edition screenprint on Hahnemuehle paper, 600 X 820 mm

22. folau tahi III (voyage) 1999
Mixed media and tapa on canvas, 1520 X 1560 mm

23. ngatu 70 ae 72 2001
Mixed media and tapa on canvas, 1730 x 1540 mm

24. Imants Tillers

25. “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, were
numbered from one to 49 and subsequent panels
have been numbered consecutively, onwards
over the decades, towards infinity. This structure
enables the pursuit of different themes and
interests, from identity and diaspora to nature
andthe landscape.”

26. Autumn Sun (Blossoming) 2006
Synthetic polymer paint, gouache on 54 canvasboards

27. Working drawing for Blossoming 6 2006

28. Blossoming 1 2004
Synthetic polymer paint, gouache on 54 canvasboards

29. Outback A 2004
Synthetic polymer paint, gouache on 54 canvasboards

30. The Vortex 1984
Synthetic polymer paint, watercolour, charcoal, pencil

31. Diaspora 1992
Oilstick, gouache, synthetic polymer paint on 288 canvasboards,
120 x 360 inches

32. The Bridge of Reversible Destiny 1990
7445 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

33. Joanna Fieldes

34. “My paintings are my way
of acknowledging the ignominious ways
of 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.”

35. Spilt Gravy 2006
Oil on linen, diptych, 600 x 900mm

36. Lines Drawn 2006
Oil on linen, 500 x 1400mm

37. The Headland 2006
Oil on linen, 850 x 1400mm

38. Sources of inspiration

39. The Model Wife 2001
Triptych, mixed media

40. Souvenir Cup 2006
Oil on linen, 300 x 400mm

41. Meat in the Middle 2005
Oil on linen, 750 x 125mm

42. Paddy Japaljarri Stewart

43. “We want our children to learn about
and know our Law, our Dreamings. That is
why we painted these Dreamtime stories.
I have many stories that I paint:
I am responsible for these stories and for
making sure that the stories stay strong in
my culture. They tell us about where our
ancestors came from, how our land was
made, where to find food and water, how
to make things and when to have
ceremonies – everything!”

44. Wati Jurra Jukurrpa
(Two Men Dreaming) Door #2 1984
Acrylic paint on wooden door
202 x 81.5cm

46. Wati Jurra Jukurrpa
(Two Men Dreaming) Door #3 1984
Acrylic paint on wooden door
202 x 81.5cm

47. Paddy at work

48. Paddy Japaljarri Stewart sitting with Eliana Carmichael: bridging two worlds

49. Ngatijirri Jukurrpa
(Green Budgerigar Dreaming)
122 x 46cm

50. Ngatijirri Jukurrpa
(Budgerigar Dreaming) 1984
122 x 76cm

51. Yarla and Marlu Jukurrpa (Bush Potato and Kangaroo
Dreaming)
107 x 61cm

52. Wi Taepa

53. “Clay is the body of Papatuanuku –
our Maori earth mother. I worked as a carver
of wood first, and still draw upon traditional
Maori concepts, but clay gives me a freedom
to explore my whakapapa (heritage) in ways
that woodcarving does not. Clay allows me
to connect my imagination to the earth
through touch, as I shape and build with my
hands. I want to honour the past and impact
the future by modelling something
new to Maori.”

54. Vessels of Knowledge
Ipu 1 & 2: Whakamaharatanga series 2003
Raku clays, oxides, slips
and terra sigillata
31.5 x 5.5 x 5.5 inches
and 30.5 x 5.5 x 5.5 inches

55. Vessels of Knowledge
Ipu 3 & 4: Whakamaharatanga series 2003
Raku clays, oxides, slips

56. Working drawings

57. Some of Wi's 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

58. Ipu (Kowhaiwhaii series)

59. Ipu

60. Hinaki Series #1 (Eel Trap) 2001

61. Zhong
Chen

62. “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 to
belong and trying to belong to a new culture. I
use a blend of old and new to define my past
and my present and to represent my identity
as a Chinese-born, Australian artist. I am
inspired by the bright colours of the Australian
landscape.”

63. Stupid Laughing #1 1996

64. Stupid Laughing #2 1996
Oil on canvas 210 x 210cm

65. Stupid Laughing #5 1996
Oil on canvas 210 x 260cm

66. From Stupid Laughing series,1996
Oil on canvas 80 x 80cm

67. Small study painting

68. Shanghai Nights, Oil on canvas

69. Shaolin Spin Kick Combo III 2001
Oil on canvas, 120 x 120cm