Cinga Samson’s Enigmatic Worlds Unveiled

Cinga Samson's Enigmatic Worlds Unveiled

Entering Cinga Samson’s ethereal debut at White Cube New York, I initially knew nothing about the artist. The exhibition, titled Ukuphuthelwa, is a nod to an isiXhosa term that translates to ‘unable to sleep,’ but unlike the English ‘insomnia,’ it lacks negative connotations. According to the press release, for Samson, sleeplessness signifies a heightened spiritual awareness, a deepening of sensitivity in the night.

With this perspective, I revisited the show, consulted the catalog from his 2023 exhibit at White Cube London, and delved into his work. A week later, upon returning, the haunting allure of Samson’s paintings remained undiminished. His artworks echo historical wounds without deciphering them for Western viewers, crafting a realm beyond our grasp, compelling us to keep looking.

Samson’s limited palette, rich with somber grays, near blacks, and vivid whites, portrays twilight rituals that are beyond understanding. Using photographs as a starting point, he evolves these into detailed drawings and finally, paintings. The transformation across mediums brings about changes; the white pupils of his figures enhance their spiritual alertness, placing them in a liminal space.

In ‘Ukuwelwa komda’ (2026), a spectral figure in a patterned sweater rises from a chair and a skeleton. A concrete tunnel drains water behind him, while figures in jackets and jeans stand at its top, amidst grass. The scene, with glass jars resembling organs, feels orchestrated, drawing comparisons to Gregory Crewdson’s photographs, yet Samson’s work transcends into the surreal.

Upstairs, in ‘Intsingiselo II’ (2026), a pack of dogs and a white bucket occupy the space. A man and woman stand on the right, their heads cropped by the canvas edge. The dog with white pupils in the foreground underscores the scene’s otherworldliness. The viewpoint places us as unseen intruders in this self-contained world.

‘Cinga Samson: Ukuphuthelwa’ is on view at White Cube (1002 Madison Avenue, Upper East Side, Manhattan) until April 18. Organized by the gallery, it challenges and intrigues through its spiritual insights.

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