Glen Wolfgramm's paintings strongly
reflect the fusion of Polynesian and Palagi cultures in urban
centres like Auckland, the world's largest Polynesian city, while
also expressing some of the tensions that arise between differing
cultural traditions.
Wolfgramm, born in 1971 and raised in New Zealand of
Irish/Tongan-born parents, looks at Tonga as a 'foreign homeland'
and struggles with a sense of alienation from his paternal culture.
Occupying a territory enriched by artists such as Ani O'Neill, John
Pule and Fatu Feu'u, Wolfgramm references Celtic and Tongan motifs
using contemporary media and symbols, creating work that critic
David Eggleton credits with 'revitalising the imagery of
traditional (Polynesian) art forms'
As Wolfgramm has asserted;
"I paint to uncover aspects of my life
that are becoming more conscious through the process of painting. I
have been brought up with a predominantly Palagi outlook on life.
My cultural and
spiritual relationship with my father's homeland, Tonga, is not
strong. My parents speak English at home and as a result, I
have learned very little of my father's native language. However,
to look at me, you would say I am Tongan.
My paintings represent this confusion and the sense of isolation
it causes. Unlike traditional tapa cloth markings and designs, my
paintings are not narratives of legends or status. They represent
how I feel, an analysis of myself, my family, my environment and
the exploration of my identity as a New Zealander."
In his four previous exhibitions, this self-taught artist has
captured the attention of collectors and critics, placing works
into public and private collections throughout the country and
drawing enthusiastic reviews from local critics and visiting
international media. Glen Wolfgramm's paintings are a fine example
of why Euro/Polynesian work is now at the cutting edge of art in
New Zealand and the wider Pacific Rim.