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GRAPHITE AND STONE
Sculpture & Drawings
November 8 - 29, 1997
Quanaq is known as both a carver and graphic artist. She did not draw until 1960, and then abandoned her initial efforts until returning to drawing in the late 1970s. A carver for many years, she occationally carves today, usually on a smaller scale.
Kakulu has been represented in the annual print releases in Dorset since 1966 and also makes sculpture. Her mother, Ikayukta Tunnillie, was a graphic artist, and her husband, Sagiatuk Sagiatuk, a sculptor, is a stalwart of the Cape Dorset printmakers.
|Ohotok Mikkigak (Cape Dorset)
The husband of Quanaq, Ohotok made both sculpture and prints, releasing with the annual collection in Cape Dorset in 1961.
Paulassie's renowned father was Pootoogook, a powerful Inuit leader whose influence extended the length of Baffin Island. Pootoogook's tacit approval of the fledgling print program in Cape Dorset encouraged the participation of the Inuit in what has become such an internationally renowned art form. Pauloosie contributed as a printmaker in 1959 and released two prints with the 1960 and 1966 collections. He has shown extensively as a carver and is featured in many museums.
|Eegyvudluk Pootoogook (Cape Dorset)
Eegyvudluk worked for more than thirty years with the Dorset printshop as a stone block cutter and printmaker, but released only two images of his own (1960 and 1967), possibly in deference to his wife, graphic artist Napatchie. His work is in the Tate Gallery in London, as well as many other collections. He has three brothers, Kananginak, Paulassie, and Pudlat, who are also all recognized artists.
Perhaps the most internationally recognized of all the Inuit artists, Kenojuak has received many accolades for her sculpture and graphic design. Receiving the Order of Canada in 1967 and awarded the Companion to the Order in 1982, she was also elected to the Royal Canadian Academy in 1974. She has had three Canadian postage stamps released over the years in her honour. In 1995, she received the Lifetime Aboriginal Achievement Award. Kenojuak's work has a signature style - simple, direct, vivacious - that has delighted audiences around the world. A regular contributor to the Dorset print release since 1959, Kenojuak's strong graphic work continues to attract collectors to the art. Sculpture now is increasingly difficult for her and these two works reflect her entire production in this medium in two years.
|Mary Qayuaryuk (Cape Dorset)
1908 - 1982
Mary and her husband, Kopapik 'A', lived a traditional life in camps before settling in Cape Dorset in 1966. While she carved and made drawings in the late 1950s, she first released with Dorset print collection in 1965, eventually producing 11 prints by 1982. Besides her art, she is remembered as the first woman elected to the Cape Dorset Community Council, and for her skills as a midwife and healer. Three daughters also became artists: Qaunaq Mikkigak, a graphic artist and carver; Sheojuke Toonoo, a graphic artist; and Laisa Qayuaryuk, a print maker.
From 1962 until 1981, Pauta was a strong contributor to the annual Dorset print collections. He also became one of the most well-collected and exhibited of the core generation of carvers, with work in prominent collections throughout Canda and the United States, including the Museum of Modern Art and the Metropolitan Museum in New York, as well as the Smithsonian Museum in Washington, D.C. Among the first artists who understood the power of personal stylization, Pauta had and immeasurable impact on the developing Cape Dorset style, and is deserving of the title master artist. Drawings from Pauta are from an earlier period and rarely become available.
Pitaloosie started to draw in the mid-1960s and has contributed to the Dorset print release since 1968. Her wide choice of subjects include people, animals, birds, traditional events and mythic beings. Pitaloosie grew up experienced in camp life but also knew the South, where she was confined due to severe illness in the 1950s. She married Pauta Saila in 1960 and they live in Cape Dorset where they continue to make art. Her work is often stylized and tends to focus on the essential - this paring-away makes her work powerful and memorable. Her print, Fisherman's Dream was reproduced on a stamp for Canada in 1977.
Most will remember Kaka as one of the great master carvers, but he also made a small number of drawings. Widely known for his very tactile sculptural style that often dealt with spirit imagery, it is interesting to see similar themes in these two rare examples of his graphic work. Kaka was married to the printmaker and sculptor, Mayureak, and was the second of the five Ashoona brothers, all carvers.
|Tayaraq Tunnillie (Cape Dorset)
Tayaraq is an accomplished sculptor, exhibiting since 1970, and has also made drawings since the early days. Her husband, Qavaroak (Kabubuwa), was a renowned sculptor, and both her son, Peter and daughter, Letia, are also artists.
|Kiakshuk (Cape Dorset)
1886 - 1966
Master artist Kiakshuk was very well regarded for both his sculpture and his prints. He first released with the 1960 collection and contributed regularly until his death. He was also a well-known story-teller and appeared as such in the 1958 National Film Board Film The Living Stone. A stamp of his 1960 print, the Summer Tent, was released in 1979. His son, Lukta Qiatsuq, is also a graphic artist and renowned sculptor, and two daughters, Paunichea and Ishuhungitok Pootoogook, were graphic artists in their own right. Kiakshuk's work is in the National Gallery of Canada and the Metropolitan Museum in New York, as well as many other collections.
The son of Kiakshuk, Lukta has been an important figure in the art of Cape Dorset since the early drawing experiments in 1957-58. Besides being a master carver, he has been a significant contributor to the Dorset graphics since 1959, both as an artist and in printmaking, for which he showed a facility in every aspect of production. Although he left the printshop in 1980, he returned in 1983 and 1984 to produce three stonecut and stencil prints. He continues to produce sculpture that is both elegant and powerful.
From the first experimental work shops in Cape Dorset in 1957-58, Kananginak was regarded as part of the "new wave" of graphic artists for his particular and highly developed realist style, which was unique in Cape Dorset at that time. He has contributed annually to the print collections and was also an occasional printmaker until the late '70s. He excels in detailed depictions of wildlife, particularly birds, garnering him the title "the Audubon of the Arctic". Widely exhibited, both as a master sculptor and graphic artist, he was elected to the Royal Canadian Academy in 1980. Among his many honours and achievements, four of the six images released internationally as the World Wildlife Fund Portfolio (1977) were by Kananginak. His work can be seen in many of the top North American collections, including the National Gallery of Canada and the Metropolitan Museum in New York.
Among the most enthusiastically collected of the Cape Dorset artists, Lucy started to draw in the late 1950s in Supujuak camp before she and her husband, Tikitu, moved to Cape Dorset in the early 1960s. Her favourite images were of birds, either singly or in groups - and in all kinds of situations. Exhibiting with the annual print collections since 1961, her prints charmed a wide audience, with works in many prominent collections around the world, including the Tate Gallery in London.
One of the carvers selected for the original masterworks exhibition, Mannumi is also father to carvers Enook Manomie and Towatuga Sagouk of Iqaluit. His drawing style was quite representational and it is interesting to note the inclusion of the horizon line and the attempt at perspective in his work from the mid-1960s.
One of the most consistently whimsical of the Dorset artists, Pudlo also had an interesting edge in much of his imagery. He was one of the very few in Cape Dorset to regularly treat contemporary themes in his work, for example, the airplane print featured on a Canadian stamp. Pudlo also was frank with images illustrating shamanic belief, although his characteristic and irrepressible humour made light of powerful themes. Widely acknowledged for his unique contribution to the art, it is also interesting to note the work of his brothers, Osoochiak Pudlat and Simeonie Quppapik.
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