Cinga Samson Debuts Haunted, Spiritually Alert Oil Paintings in Transformative White Cube Exhibition

South African painter Cinga Samson unveils "Ukuphuthelwa," a series of ghostly oil works at White Cube depicting spiritual alertness and historical scars.

By: AXL Media

Published: Apr 7, 2026, 5:06 AM EDT

Source: Information for this report was sourced from HyperAllergic

The Spiritual Dimensions of Sleeplessness

The thematic core of Cinga Samson’s debut exhibition at White Cube is rooted in the isiXhosa concept of Ukuphuthelwa. Unlike the Western medical definition of insomnia, this term carries no negative connotation and is instead framed by the artist as a heightened state of spiritual sensitivity that deepens in the darkness. This state of alertness is visually manifested in his subjects through completely white pupils, a stylistic choice that signals a transition from the physical to the metaphysical. According to John Yau, these figures appear to exist in a state of limbo, situated between life and death, possessing a clarity of vision that remains inaccessible to the casual observer.

Methodology of the Haunted Image

Samson’s creative process involves a multi-stage transformation that begins with staged photography. The artist sets up elaborate scenes which he documents as photographs, subsequently developing detailed drawings that serve as the foundation for his final oil paintings. This progression through different mediums allows for a shift from the palpable, staged reality—reminiscent of the cinematic photography of Gregory Crewdson—into a truly unearthly painted realm. His palette is strictly controlled, dominated by dark and silvery grays, near blacks, blue-greens, and deep Prussian blues, punctuated only by small amounts of a cold, bright white to emphasize the ghostly nature of the compositions.

Symbolism of the Border and the Skeleton

In the centerpiece work "Ukuwelwa komda" (2026), which translates to "crossing a boundary," Samson depicts a ghostly gray figure emerging from a skeleton while rising diagonally from a chair. The scene is set within a concrete passageway where water drains past a pile of glass jars containing what appear to be internal organs. Surrounding figures in contemporary attire, such as leather bombardier jackets and jeans, frame the central action, directing the viewer’s eye toward the macabre and ceremonial ritual. The composition suggests a choreographed drama that avoids clear legibility, leaving the viewer in a state of uncertainty regarding the exact location or nature of the event.