Shane William Cotton ONZM (born 3 October 1964) is a New Zealand painter whose work explores biculturalism, colonialism, cultural identity, Māori spirituality, and life and death.
Cotton was born in Upper Hutt with Ngāpuhi, Ngāti Rangi, Ngāti Hine and Te Uri Taniwha iwi affiliations[1] (his father a member of the Ngāpuhi iwi and his mother European). Cotton studied at the Ilam School of Fine Arts in Christchurch, graduating in 1988 and then went on to gain a Diploma of Education from Christchurch College of Education. After finishing his studies he lectured at Massey University, Palmerston North, in the Māori visual arts programme until 2005 when he left to concentrate on his art practice full-time. He lives and works in Palmerston North.[2][3][4][1]
Cotton was the recipient of the Frances Hodgkins Fellowship in 1998.[1] In 2008, he received a Laureate Award from the New Zealand Arts Foundation.[1] He was appointed an Officer of the New Zealand Order of Merit, for services to the visual arts, in the 2012 Queen's Birthday and Diamond Jubilee Honours. His work is highly sought after. He has received the Seppelt Contemporary Art Award from Sydney Museum of Contemporary Art, and has been exhibited at many leading galleries in Australia and New Zealand, as well as in Spain and Prague. He was the New Zealand representative in the 2005 Prague Biennale and his work was included in the 17th Biennale of Sydney 2010. In 2015 Cotton was commissioned by the Australian War Memorial to make a print to commemorate the ANZAC Centenary. His work has been translated into a stained glass installation in St Joseph's Church, Mt Victoria, Wellington.[3][5][6][7]
Cotton's work includes Māori iconography and culture, such as shrunken heads, mokomokai, and native birds such as tūī, and European symbols and items. His paintings have explored questions of colonialism, cultural identity, Māori spirituality, and life and death.[4] Describing his practice, Cotton says, "Biculturalism, how our histories have been interwoven over time, things that have come out of that connection – culture, politics, societal living – have been the driving factors in my work."[8]
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