Abstract:
This thesis examines the art of Shane Cotton in terms of the evolution of his work as a journey of self discovery. It surveys the production of his work from 1991-2003.
The study finds that Cotton's development as a Maori artist is analogous to the
development of his identity as Ngati Rangi. The thesis demonstrates that a limited
knowledge of Maori conceptual paradigms evident in the early stages of Cotton's
career was epitomised by the application of a Western art framework to express Maori
notions of cosmogony.
The thesis shows that Cotton's visual vocabulary has developed since then
revealing a growing awareness of Maori ideology thus allowing him to explore
aspects of his own identity within a Maori conceptual framework. By examining a
range of visual images the thesis demonstrates Cotton's commitment to defining his identity which has transformed over time from a generic Maori orientation to one that
is more hapu centric.
The thesis finds that Cotton's investigation into his heritage as Ngati Rangi has provided him with an elaborate vocabulary of syncretic symbols and motifs with which to demonstrate the impact of Christianity on Taitokerau art and culture. In the journey to reclaim Ngati Rangi imagery and his own identity, the thesis shows that Cotton's art has evolved to become firmly anchored in Te Ao Maori.
