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Cinga Samson: ‘a different conversation on representation’ Ocula Conversation Cinga Samson: ‘a different conversation on representation’ By Jareh Das, New York

Cinga Samson 's paintings lay bare the complex relationship between contemporary life, African traditions, globalisation, and representation. His strikingly sombre portraits contain similarities to those of contemporary painters such as Toyin Ojih Odutola, Lynette Yiadom-Boakye , Kehinde Wiley , Florine Démosthène, and Tunji...

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Dhaka Art Summit 2020: Seismic Movements Ocula Report Dhaka Art Summit 2020: Seismic Movements By Radha Mahendru, Dhaka

Seismic Movements , the fifth Dhaka Art Summit, plotted movements, solidarities, and exchanges across the Global South with over 500 artists, scholars, curators, and thinkers.

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Guo Hongwei on Seeing Patterns That Don’t Exist Ocula Insight Guo Hongwei on Seeing Patterns That Don’t Exist By Sherry Paik, New York

Guo Hongwei's recent watercolour paintings, showing at Chambers Fine Art in New York from 3 March, trigger pareidolia—the phenomenon of seeing random objects or patterns where they do not exist.

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HomePage Artists

b. 1964, New Zealand

Shane Cotton Biography

Shane Cotton is one of New Zealand’s leading and most celebrated contemporary artists. He was born in Upper Hutt, New Zealand in 1964, and has a BFA from the University of Canterbury in Christchurch, New Zealand, and was a lecturer in the Maori Visual Arts Programme at Massey University until 2005.

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Of dual Maori (Ngati Rangi, Ngati Hine, Te Uri Taniwha) and Pakeha (European (mostly British settlers) descent, his iconography borrows widely from both Pakeha and Maori historical sources. Cotton employs a complex set of symbols across his works to speak to the contemporary issues of colonisation, cross-cultural exchange, identity and spirituality.

Shane Cotton is key to a generation of young Maori artists who came to prominence in the 1990s for their innovative use of non-traditional materials and processes, while directly addressing concerns of importance to Maori. This generation, including his colleagues Michael Parekowhai and Peter Robinson, challenged the status of Maori within New Zealand.

Cotton’s characteristic flattened picture plane allows for complex topographies which also refer to layered and shifting understandings of the land. In particular, he refers to land ownership and differing understandings of the natural world: from European concepts of the land as something to be divided and sold as property, or for the purpose of economic production, to the earth possessing a spirit in Maori cosmology.

Cotton first established a visual vocabulary in the 1990s that he has gone on to rework inventively for several decades. Recurring motifs include ships, stars, flags, potted plants, birds, chairs, tea pots, cups and architectural structures, evidence of the artist’s interest in the fertile tensions at play in interactions between the native and the introduced, the colonised and the coloniser.

Cotton’s work has been included in many international projects such as Turbulence, The 3rd Auckland Triennial (2007), Paradise Now? Contemporary Art from the Pacific, Asia Society Museum, New York (2004), and he was New Zealand’s representative at the Prague Biennial in 2005. His work was surveyed in a major retrospective exhibition at City Gallery Wellington and Auckland Art Gallery in 2003. He has also received numerous awards, notably the Frances Hodgkins Fellowship (1998), made a Laureate of the Arts Foundation of New Zealand (2008), and received an ONZM for services to the Visual arts in the 2012 Queen's Birthday Honours. Cotton lives and works in Palmerston North, New Zealand.

Shane Cotton Featured Artworks

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Rawhiti (study) by Shane Cotton contemporary artwork
Shane CottonRawhiti (study), 2019acrylic on paper
76 x 56 cm
Michael Lett Enquire about this work
Sun Shots by Shane Cotton contemporary artwork
Shane CottonSun Shots, 2019acrylic on paper
76 x 56 cm
Michael Lett Enquire about this work
Slow Sun by Shane Cotton contemporary artwork
Shane CottonSlow Sun, 2019acrylic on paper
76 x 56 cm
Michael Lett Enquire about this work
Black Karu by Shane Cotton contemporary artwork
Shane CottonBlack Karu, 2019acrylic on paper
75 x 56 cm
Michael Lett Enquire about this work
Patchwork with Smoke by Shane Cotton contemporary artwork
Shane CottonPatchwork with Smoke, 2014Acrylic on Steinbach paper
50 x 35 cm
Hamish McKay Enquire about this work
Diamond IV by Shane Cotton contemporary artwork
Shane CottonDiamond IV, 2014Acrylic on Steinbach paper
100 x 70 cm
Hamish McKay Enquire about this work
Old Plant, New Smoke by Shane Cotton contemporary artwork
Shane CottonOld Plant, New Smoke, 2015Acrylic on linen
100 x 75 cm
Hamish McKay Enquire about this work
Proximity by Shane Cotton contemporary artwork
Shane CottonProximity, 2013Acrylic on cotton
195 x 195 cm
Martin Browne Contemporary Enquire about this work

Shane Cotton Recent Exhibitions

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Contemporary art exhibition, Group Exhibition, Black White at Hamish McKay, Wellington
Closed
14 December 2019–25 January 2020 Group Exhibition Black White Hamish McKay, Wellington
Contemporary art exhibition, Shane Cotton, Sun Portrait at Michael Lett, Auckland
Closed
13 November–14 December 2019 Shane Cotton Sun Portrait Michael Lett, Auckland
Contemporary art exhibition, Group Exhibition, Modern Nature at Michael Lett, Auckland
Closed
14 May–15 June 2019 Group Exhibition Modern Nature Michael Lett, Auckland

Shane Cotton Represented By

Shane Cotton In Ocula Magazine

Sydney Summer Report Ocula Report Sydney Summer Report By Rachel Fuller, Sydney

When Silence Falls
 Art Gallery of New South Wales, Sydney 
19 December 2015 - 1 May 2016 Currently showing in the contemporary galleries of the Art Gallery of New South Wales, When Silence Falls is a collection-based, group exhibition curated by AGNSW curator of Aboriginal and Torres Strait Islander art, Cara Pinchbeck....

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Shane Cotton In Related Press

Artists in residence: Where artists find their happy place Related Press Artists in residence: Where artists find their happy place 23 May 2018, The New Zealand Herald

Auckland Art Fair puts the spotlight on this city as a place to see the best in contemporary art from the Pacific Rim. Dionne Christian asks some of the artists what 'place' means to them — in particular the space they work in.

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The Occupation Of Emptiness Related Press The Occupation Of Emptiness 18 December 2014, TJ McNamara for The New Zealand Herald / 13 December 2014

In the Christmas flourish of exhibitions one of the biggest names is Shane Cotton. His show called Blank Geometry is at the Michael Lett gallery. It is an exhibition that does not aim at grandeur but rather a quiet tracing of ideas. The work is of modest size and though everything is done with a subtle skill, the subject is very open.

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