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Alongside her sister, Mika Cotton recently opened Cass Street Gallery in Kororāreka, Russell, a project space designed to connect the community in a relaxed atmosphere and showcase emerging and established artists. We spoke to Mika about the gallery’s recent opening and how growing up immersed in the art world shaped her perspective on artists and guided this next step.
An artist herself, Mika captured the gallery and her favourite local spots on film - we hope you enjoy this conversation and visual journey.
Cass Street Gallery (CSG) came about rather serendipitously when Maia, my sister, and I were home for a week, and we noticed that the space was available for lease. We joked that it would be an incredible location for a gallery, and before we knew it, the lease was signed, and we were full steam ahead. We felt strongly that it would add value to our town. Russell will forever be a very special place to us - our whānau whakapapa to Ngāwhā, my sister and I spent our summers here growing up and now my parents live here. It always felt like home. The town has a rich history of exchange, and I wanted to contribute to that by creating a gallery that offers something thoughtful and considered. The space itself is flexible – it operates as a project space, rather than a traditional dealer gallery, allowing us to approach each show in a different way.
Although we are still finding our feet, the support we have received has been overwhelming - not just from the local community but also from the wider art industry. It’s been a truly special time.
As indigenous artists ourselves, creating a space that champions our voices happens naturally. But beyond that, it’s about engaging in broader conversations around place, identity, and history. There’s an undeniable responsibility when working in a town like Russell – one that demands mindfulness of the land and the narratives that have shaped it. By foregrounding Indigenous perspectives, we not only celebrate these voices but also encourage a deeper engagement with the complex histories that continue to shape New Zealand’s cultural landscape. It is also just about fostering a place for art in Russell, in whatever form that may take.
I love the idea of people experiencing art in a place that might be unexpected for them. I also want CSG to be a place where people can come, relax, enjoy themselves – whether it’s engaging with the art, having lunch outside on the table and chairs, sharing a vino, or just slowing down and enjoying the atmosphere. It’s about creating a positive environment where visitors don’t have to leave with anything grand or profound. They can just enjoy the moment, connect with others, and appreciate the work in a way that feels comfortable and welcoming.
Andrew Beck’s work blends hard-edged abstraction with atmospheric gradients, drawing from both minimalism and photographic processes. His practice explores materiality, perception, and the structures that frame visual experience, often using layering and light to complicate flatness and form. In recent projects like Spirit Level, he extends this language into printmaking, embracing imperfection and process through richly textured, one-off monotypes. Made at APS Editions.
Andrew Beck, Spirit Level 17, monotype, 1/1 unique work, 760 x 560mm
Art has always been at the heart of our family life - not just as something to admire, but as something alive and ever-present. Art was part of our conversations around the dinner table, part of our travels, and an integral way of understanding the world, which I recognise is a privilege.
Dad’s work instilled in me a deep awareness of whakapapa, history and the power of imagery to share and create narratives. His approach to art has taught me the importance of process, research, context and how to truly engage with a piece of work.
My mother, working behind the scenes, showed me the dedication and meticulous attention to detail needed to sustain a creative practice. That balance - between creating and facilitating- has profoundly influenced my approach, both in my own work and in running CSG.
I’ve been particularly inspired by the way my parents collaborate and divide responsibilities. There is far more to it than one might think—beyond making the work, there’s the business, the logistics, networking… the list goes on. Mum and Dad have dedicated their lives to it, and their partnership has been a constant source of inspiration. I hope to build something with that same sense of commitment and shared vision.
Above all, the key lesson I’ve learned is that the art and the artist must always come first. With CSG, we want to create a space where artists have full agency over what they show and how it’s presented—where their experience is not just seamless but genuinely enjoyable.
I had wondered about it, but the idea evolved organically. If you’d asked me this time last summer, I definitely wouldn't have thought we’d be here. I often make big decisions on a whim–I decided to enroll at RMIT and was living in Melbourne within 3 weeks. I’m not someone who dwells on things or makes long-term plans; I prefer to follow where the moment takes me. The gallery came about much in the same way – an opportunity presented itself, and we took it. The industry is challenging, with many moving parts, but I believe it will be incredibly rewarding. I'm fortunate to have the support of talented gallerists who have generously shared their insights with me, as well as business leaders who have offered their guidance over the last few weeks.
One piece that comes to mind is Eden to Ohaeawai 1998-2000 by Dad. Growing up, it was a constant presence in our living room, subtly framing family photos and marking daily life. While the work now resides in the Auckland Art Gallery Toi o Tāmaki’s collection, it will forever be tied to my childhood and my sense of home. Painted between 1998 and 2000 - the same years my sister and I were born, carries a unique personal significance. Beyond its cultural importance, it’s a work I’ve always felt attached to.
I have a few favorite spots I always return to: Hones for kumara fries, the Gables for a negroni, Long Beach for a swim and Carl's Coffee Cart for my morning coffee or Hell Hole. A ferry trip over to Otehei Bay makes for a fun day out on the water also!
Our next exhibition is a group show curated by Dad, featuring artists Bob Jahnke, Israel Birch, Kereama Taepa, Graham Hoete, and himself. Centered around Te Ao Mārama - the concept of light – this exhibition brings together a powerful lineup of artists whose work engages with illumination, both literally and metaphorically. I’m really looking forward to it, I know it will be a meaningful show.
The scent of freshly painted walls takes me back to my childhood. My mum was an architect, and I spent some time on building sites. The smell of new spaces has always been one of my favorites…
When I’m in Russell, my morning walk to Long Beach is a daily ritual. When I’m in Melbourne, it’s a walk around Albert Park. When the sun is shining, it puts me in the best mood.
The kina pappardelle at Aosta in Arrowtown!
Kitchen/Dining – In Melbourne, I live with two besties, and our dining area is my favourite space. We host dinner parties, work from the table, and at the end of a long day share a wine or two.
The Mortar & Pestle scent in the hand cream smells insane! Obsessed!
Thank you Mika for sharing both your space and time with us. To learn more about current artists or to pop in to visit, please head to their website.
