CCCA Canadian Art Database

Province: Nunavut

Kiakshuk

First Name: Kiakshuk

Biography (English): Kiakshuk was a Inuk graphic artist based in ᑭᙵᐃᑦ / Kinngait [Cape Dorset] and was part of the early days of the drawing and printmaking program in ᑭᙵᐃᑦ / Kinngait. In addition to being a versatile artist, he was also a well-known and respected storyteller and elder. Kiakshuk quickly became an important participant in the development of the ᑭᙵᐃᑦ / Kinngait graphic arts scene. As a printer, his preferred medium was engraving due to the direct nature of the process. He was highly respected for his ability to translate oral histories and tales of the hunt, animals, families and spirits into graphic media. Kiakshuk’s art was a mainstay of the Cape Dorset Annual Print Collection from 1960-1967. Kiakshuk’s work has been exhibited worldwide and his works are part of permanent collections across North America at institutions such as the Canadian Museum of History in Gatineau, QC, the Art Gallery of Ontario in Toronto, ON, the Prince of Wales Heritage Centre in Yellowknife, NT, the Metropolitan Museum of Art in New York, NY, USA, and many more.

Biography (French): Qiaksuk Qiaksuk inuulilauqtuminiq 1886-ngutillugu kanannaqpasingani sinaangani Qikiqtaaluup, Nunavummi. 70-miniiliriiqsuni titiqtugaqattapallialilauqsimajuq titiqtugaliuqattapallialiqsuni. 1961-ngutillugu James Houston pigiaqtitsilausimammat titiqtugaliurnirmik titiqtugaqtinut titiqtugarvittaaqqaumi, (uutturaqattapallialilauqsimajuq 1957-mi kisiani arraagutamaaqsiutiit saqqilauqsimajut 1959-ngutillugu), ammalu Qiaksuk taatsuminga pijariatujummarimmik kamaqattalilauqsimajuq. Ukkusitsalirinirmik quviagijaqaraluaqsuni titiqtugaliurnirmillu, titiqtugaliurinirmut aulanirmik niruaqtaqallarilauqtuq. Qiaksuk ujjirijausimammijuq amisuaqtingikkaluaqsuni sanannguaqattaqsimanirmik titiqtuganginnullu. Qaujimajautsiaqsuni unikkaaqtuaqti nunalinni upigijautsialauqtuq tukisinaqtitsigunnarninganut piusiusimjunik uqausikkut, unikkaaqaqpatsuni angunasunnirnik, nirjutinik, ilagiinniik, angakkunik tarninillu, titiqtugaliarillunigit. Inuujunniilauqsimajuq 1966-mi.

Website Link: https://www.inuitartfoundation.org/profiles/artist/Kiakshuk-

Community Detail: recoGnj3Hf0wf9phl

Birth Year: 1886

Medium: printmaking

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ᐸ Parr

First Name: ᐸ Parr

Biography (English): ᐸ Parr was an Inuk artist. He lived a traditional Inuit lifestyle until 1961, when he settled in ᑭᙵᐃᑦ / Kinngait [Cape Dorset] because of declining health and a hunting accident. In ᑭᙵᐃᑦ / Kinngait, Parr began to draw and make stonecut relief prints. He created over 2,000 works in the next eight years. These are mainly images of hunting scenes, although Shamanic subjects are also depicted. In 1977 one of his prints was featured on a Canadian postage stamp. His work is included in the permanent collections of several museums, including the National Gallery of Canada, the Musée national des beaux-arts du Québec, the University of Michigan Museum of Art, the Canadian Museum of History, the Dennos Museum Center, the National Museum of the American Indian, the British Museum, and the Museum of Modern Art.

Biography (French): Paa Paa inuuliqtuminiq 1893-ngutillugu nunalillaturni, Kinngait mitsaani, nigiqpasingani sinaani, Qikiqtaalummi, Nunavummi. Paakkuk nuliariik Ilisuusikkuk piqqusituqaqtigut nuttaqattalauqsimajut angunasuqattaqsutik ukiallivatsutik Tasiujarjuarmi. 'Iqalulinni' ammalu aujaqsiupatsutik Niitani Tikirarmiluunniit, akautsiaqattarunniirami inutuqaruqpallialiqsunilu aullaasilauqsimajuq Kinngarnut 1961 nunguppallialiqtillugu. Tiliuqtautsuni Terry Ryan-mut titiqtugaqattajujuq paippaani upirngaangani 1961 Tasiujaqjuarmiutautsuni uannaqpasingani Kinngait. Inuisattunut sanaugaqtinut ilagijaulluni angakkunik takutsautitsinikkut sanajarmitigut, Paa qaujimajautsiaqtuq unikkaaqtunik titiqtuganginnut uumajunnguanik, angunasuaqtunik ammalu asivaqsimajunik. Titiqtugaqattaqsimajangit iqqaumajaminik uvikkakanniulluni angunasuaqtiutsuni asinilu nunaqaqpatsuni. Ukkusitsamuuqsimajunik niruaqtuqaqattalauqtuq ammalu titiqtugaliurnimik kisiani tigusillarilauqsimanngittuq titiqtugaliurnirmik quviagijaqajummijuq taqsalinnik amiarutinik aturiatsaq, qanuittutuinnarnillu amiarutinik aturnirmik imalinnillu titiqtugaliraigami. Arraaguit amisuunngittut titiqtugaqtiutsuni amisukallannik titiqtugalauqtuq, 2000-niittunik, ammalu ilitarijaumatsuni takutsautitsigianga inuusirmik atuqtaugunnaqtunik kinguvaariinniaqtunut. Ilitarijausimatsuni takutsautitsininganut angunasuarnituqarnik niruaqtaulauqsimajuq 1977-mi titiqqanut qangattautinuuqtautsuni titiqtuganga. Inuujunniilauqsimajuq Nuuvippiri 3, 1969.

Website Link: https://www.inuitartfoundation.org/profiles/artist/Parr-

Community Detail: recoGnj3Hf0wf9phl

Birth Year: 1893

Medium: drawing printmaking

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ᓗᒃ ᐊᖑᐊᓗᖅ Luke Anguhadluq

First Name: ᓗᒃ ᐊᖑᐊᓗᖅ Luke

Last Name: Anguhadluq

Biography (English): Luke Anguhadluq was an Inuk printmaker and graphic artist from Tariunnuaq [Chantrey Inlet], NU. He spent the majority of his life living on the land in an Utkuhikhalingmiut camp until later in life when he relocated to ᖃᒪᓂᑦᑐᐊᖅ / Qamani’tuaq [Baker Lake], NU. At 73, Anguhadluq began drawing exploring themes of hunting, drum dancing and community. In 1969 a printmaking program was introduced in ᖃᒪᓂᑦᑐᐊᖅ / Qamani’tuaq and Anguhadluq’s drawings were quickly transformed into prints. Over 80 of Anguhadluq's artworks were featured in the Baker Lake Print Collection. His earlier works from 1960-1969 were composed using graphite, felt-tip pen and coloured pencil. Human figures from this early period are generally silhouetted in dark colours, though this style does reappear in later works such as String Game (1973). From 1970-1982, Anguhadluq gained access to higher quality paper as well as a larger range of coloured pencils and ink and as a result he incorporated more colour into his compositions. He also increasingly added more details to his works such as tattoos and decorative clothing. Anguhadluq also began incorporating multiple perspectives into his work, moving away from narratives that happened on a linear plane and beginning to portray larger groups of people. The drawing Drum Dance (1970) prominently features a top-down view of the activity concentrated around the drum. Anguhadluq has an accomplished artistic legacy. In 1976 he shared an exhibition space with his wife Marion Tuu'luq at the Winnipeg Art Gallery titled Tuu’luq/Anguhadluq. In 1993 the Art Gallery of Ontario organized a solo exhibit of Anguhadluq’s work titled From the Centre: The Drawings of Luke Anguhadluq, held in Ottawa at the National Gallery of Canada.

Biography (French): Luke Anguhadluq était un graveur et graphiste Inuk de Tariunnuaq (Chantrey Inlet), au Nunavut. Il a passé la majeure partie de sa vie sur les terres d’un camp Utkuhikhalingmiut jusqu’à ce qu’il déménage plus tard à ᖃᒪᓂᑦᑐᐊᖅ / Qamani’tuaq [Baker Lake], au Nunavut. À 73 ans, Anguhadluq a commencé à dessiner en explorant les thèmes de la chasse, de la danse du tambour et de la communauté. En 1969, un programme de gravure a été introduit à ᖃᒪᓂᑦᑐᐊᖅ / Qamani’tuaq et les dessins d'Anguhadluq ont été rapidement transformés en gravures. Plus de 80 œuvres d'Anguhadluq figuraient dans la collection d'estampes de Baker Lake. Ses premières œuvres de 1960 à 1969 ont été composées à l'aide de graphite, de feutre et de crayon de couleur. Les figures humaines de cette première période sont généralement représentées dans des couleurs sombres, bien que ce style réapparaisse dans des œuvres ultérieures telles que String Game (1973). De 1970 à 1982, Anguhadluq a eu accès à du papier de meilleure qualité ainsi qu'à une plus large gamme de crayons de couleur et d'encre et, par conséquent, il a incorporé plus de couleurs dans ses compositions. Il ajoute également de plus en plus de détails à ses œuvres, tels que des tatouages et des vêtements décoratifs. Anguhadluq a également commencé à incorporer de multiples perspectives dans son travail, s'éloignant des récits qui se déroulaient sur un plan linéaire et commençant à représenter des groupes plus larges de personnes. Le dessin Drum Dance (1970) met en évidence une vue de haut en bas de l’activité concentrée autour du tambour. Anguhadluq a un héritage artistique accompli. En 1976, il partage un espace d'exposition avec son épouse Marion Tuu'luq à la Winnipeg Art Gallery intitulé Tuu'luq/Anguhadluq. En 1993, le Musée des beaux-arts de l’Ontario a organisé une exposition personnelle de l’œuvre d’Anguhadluq intitulée Du centre : Les dessins de Luke Anguhadluq, tenue à Ottawa au Musée des beaux-arts du Canada.

Website Link: https://www.inuitartfoundation.org/profiles/artist/Luke-Anguhadluq

Community Detail: recZJXig7mWdp3Us2

Birth Year: 1895

Medium: drawing printmaking

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ᐸᓇᐸᓯ ᐊᓇᓴᒐ Barnabus Arnasungaaq

First Name: ᐸᓇᐸᓯ ᐊᓇᓴᒐ Barnabus

Last Name: Arnasungaaq

Biography (English): ᐸᓇᐸᓯ ᐊᓇᓴᒐ Barnabus Arnasungaaq was one of the first participants in his community’s sculpture program in the early 1960s. His work has had a great influence on his community and on the art of the Keewatin for more than four decades. Although he created a number of prints and drawings during his career, Arnasungaaq is first and foremost recognized as an important figure in contemporary Inuit sculpture. He continued to make works that embody the wonderful ideographic quality that we have come to associate with the artistic communities of the tundra. During his career, the artist participated in more than 100 group and solo shows in Canada, the United States and abroad. Today his works can be found in important collections, such as the Prince of Wales Northern Heritage Center, the University of British Columbia Museum of Anthropology, the National Gallery of Canada, the Center of the Dennos Museum, the Canadian Museum of Civilizations, the Peary-MacMillan Arctic Museum and much more.

Biography (French): ᐸᓇᐸᓯ ᐊᓇᓴᒐ Barnabus Arnasungaaq fut l’un des premiers participants au programme de sculpture de sa communauté au début des années 1960. Son travail a eu une grande influence sur sa communauté et sur l’art du Keewatin depuis plus de quatre décennies. Bien qu'il ait réalisé de nombreuses gravures et dessins au cours de sa carrière, Arnasungaaq est avant tout reconnu comme une figure importante de la sculpture inuit contemporaine. Il a continué à réaliser des œuvres qui incarnent la merveilleuse qualité idéographique que nous en sommes venus à associer aux communautés artistiques de la toundra. Au cours de sa carrière, l'artiste a participé à plus de 100 expositions collectives et individuelles au Canada, aux États-Unis et à l'étranger. Aujourd'hui, ses œuvres se retrouvent dans d'importantes collections, telles que le Centre du patrimoine septentrional Prince-de-Galles, le Musée d'anthropologie de l'Université de la Colombie-Britannique, le Musée des beaux-arts du Canada, le Centre du Musée Dennos, le Musée canadien des civilisations, le Musée Peary -Musée de l'Arctique MacMillan et bien plus encore.

Community Detail: recZJXig7mWdp3Us2

Birth Year: 1924

Medium: sculpture

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ᑲᕈ ᐊᓴᕙ Karoo Ashevak

First Name: ᑲᕈ ᐊᓴᕙ Karoo

Last Name: Ashevak

Biography (English): ᑲᕈ ᐊᓴᕙ Karoo Ashevak was an Inuk sculptor who lived a nomadic hunting life in the Kitikmeot Region of the central Arctic before moving into Spence Bay, Northwest Territories (now Taloyoak, Nunavut) in 1960. His career as an artist started in 1968 by participating in a government-funded carving program. Working with the primary medium of fossilized whale bone, Ashevak created approximately 250 sculptures in his lifetime, and explored themes of shamanism and Inuit spirituality through playful depictions of human figures, angakuit (shamans), spirits, and Arctic wildlife. In 1970, the Canadian Eskimo Art Council held the Centennial competition in Yellowknife. Ashevak's sculptures won third prize in that competition, and he became a recognizable artist after his solo exhibition at the American Indian Art Centre in New York in 1973. Ashevak's work abandoned cultural references and adopted a modern expressionistic style, which visually appealed to a broader audience than collectors of Inuit art. An extensive collection of Ashevak's sculptures went on solo or group exhibitions at commercial galleries around the world, including Franz Bader Gallery at Washington, D.C., Lippel Gallery in Montreal, the Upstairs Gallery in Winnipeg and the Inuit Gallery in Toronto. Ashevak's works were also widely traded on the auction market. Despite his short and tragic passing — he died in October 1974 from a house fire, Ashevak was crucial to the development of Inuit sculpture by visualizing an imaginative world with supernatural beings and shamanistic practices.

Biography (French): Karoo Ashevak Inuuliqtuminiq 1940 saniani Talurjuap Qitirmiuni Nunavummi, Karoo Ashevak nunaqaqsimajuq asini, inuusiqaqsuni piqqusiqaqtumik angunasuppatsutik, nuttilaunnginirmini Talurjuarmut 1960-mi. Ashevak qaujimajaujjutiqaqtuq ajjiungittunik qimirruniqasuungummata tautuqquuqtanginnik ammalu Inuit angakkininginnik tamakkunani sanaugarmini. Pinnguarniqaqtuujaaqsuni, sanagusirivattanga takutsautitsimmat anginiqsamik-sanammangit ammalu ijurnaqsutik-ilulilluatarijangit sanannguagangita tarninnguat, angakkuit, ukiuqtaqtumiutait uumajut ammalu inunnguat. Atuqtalluataqarajutsuni Arviup sauninganik ammalu atusuungummitsuin ujaqqanik tuugaarnillu, tuttuit najjunginnik ammalu suqqarnik ilagutsiutisimatillugit sanauganginnut. Sanaugaqtiukainnalaurnirmini ilitarijaulilauqsimajuq nunalimmini, ammalu Uqsuqtuumi, tautugarijauliqsuni kinguvaariinut Qitirmiuni sanaugaqtinut. Qaujimajammariutsuni Kanatami ammalu Mialigait nunanganni. Karoo Ashevak sanaugangit takutsautitauqattaqsimajuq Turantumi, Manturiumi ammalu Niu Juak-mi. 1973-mi takutsautitaujuqaqtillugu American Indian Arts-kunni Niu Juak Sity-mi nalunaiqsigutaujummat sanaugaqtiuninganik, ammalu 1994-mi takutsautitsijuqaqtillugu National Gallery-mi Aatuvaami takutsautitsimmat pimmariunginnarninganik sanaugangita iluani ullumisiutiit Kanatami sanaugait. Karoo Ashevak inuujunniilauqsimajuq Uttuupiri 1974 illumik ikittuqaqtillugu arraaguqaqsuni 34-nik

Website Link: https://www.inuitartfoundation.org/profiles/artist/Karoo-Ashevak

Community Detail: reczOtpnDDHFiKalC

Birth Year: 1940

Medium: sculpture

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ᕿᓐᓄᐊᔪᐊᖅ ᐋᓯᕙᒃ Kenojuak Ashevak

First Name: ᕿᓐᓄᐊᔪᐊᖅ ᐋᓯᕙᒃ Kenojuak

Last Name: Ashevak

Biography (English): ᕿᓐᓄᐊᔪᐊᖅ ᐋᓯᕙᒃ Kenojuak Ashevak RCA is celebrated as a leading figure of modern Inuit art and one of Canada's preeminent artists and cultural icons. Part of a pioneering generation of Arctic creators, her career spanned more than five decades. She made graphic art, drawings and prints in stonecut, lithography, stained glass, and etching, beloved by the public, museums and collectors alike. Ashevak became one of the first Inuk women in ᑭᙵᐃᑦ / Kinngait [Cape Dorset] to begin drawing. She worked in graphite, coloured pencils and felt-tip pens, and occasionally used poster paints, watercolours or acrylics. She created many carvings from soapstone and thousands of drawings, etchings, stonecut prints and prints — all sought after by museums and collectors. She was the first Inuit artist inducted into Canada's Walk of Fame (2001), was made an Officer of the Order of Canada (1967) and promoted to Companion in 1982. She received the Governor General's Award in Visual and Media Arts (2008) and the Order of Nunavut (2012). Her work, with its superb design qualities, was used for Canadian stamps, coins and banknotes. For instance, in 1970, Canada Post placed her 1960 print Enchanted Owl on a stamp to commemorate the centennial of the Northwest Territories and in 2017, the Bank of Canada unveiled a commemorative $10 banknote in honour of Canada's 150th birthday featuring Ashevak's print Owl's Bouquet on the note. She received Honorary Doctorates from Queen's University (1991) and the University of Toronto (1992) and many films were made about her life. Her work is included in the collection of the Art Museum The University of Toronto, St. Lawrence University, the National Gallery of Canada, the Metropolitan Museum of Art, the Brooklyn Museum and the Smithsonian's National Museum of the American Indian.

Biography (French): Qinnuajuaq Aasivak Qinnuajuaq inuuliqtuminiq Uttuupiri 3, 1927 Ikirasammi, ungasinnilimmi 150 kilumiitat mitsaani kanannangani Kinngait, Qikiqtaaluk, Nunavut. Inunngualiuqattapallialilauqsimajuq ammalu sapangalirivatsuni puvallugiaqsimatsuni Paak Savaat aanniavinganik, Kupai sitimi 1952-1955 akurnganni. Utirami Kangiamut aujangani 1955m qisinnik qisinnik miqsuqattalauqsimajuq sapangaliarisimajunillu niuviutigitsugit Alma Houston miqsuqvingatigut 1956 tikirataqsugu. Sananngualauqsimammijuq amisuunngittuugaluanik tiliuqtautsuni James Houston-mut. Aullaaqsimaliqtillugit Kiaktuumut 1957-mi, ammalu taikani arraagumi sitammiuttumik qiturngaqtaalauqsuni, titiqtugarnirmik kamaqattapallialilauqsimajuq. 1958-ngutillugu sivulliqpaaq ammalu ilangat Qinnuajuap titiqtuganginni qaujimajammariujuq, Ukaliq Kuannituqtuq, pijariiqtaulauqsimajuq Kinngarni titiqtugarvimmi miqsugangatta ilangannik qisirajammik. Taanna titiqtugaq ilaulauqsimajuq sivulliqpaanut arraagutamaaqsiutinginnut titiqtugarviup 1959-ngutillug. Taanna titiqtugaqti ilangillu Kinngarnut aullaalauqsimajut 1966-ngutillugu. Maanna nunalik iqqanaijaqsunilu Kinngarni, Qinnuajuaq kajusisimanginnaqtuq titiqtugalirinirmik, tamakkiinni titiqtugarnirmik titiqtugaliurnimillu, ammalu suli ilaminuungagunnapammitsuni ammalu aullaqattanginnaqsuni.

Website Link: https://www.inuitartfoundation.org/profiles/artist/Kenojuak-Ashevak

Community Detail: recoGnj3Hf0wf9phl

Birth Year: 1927

Medium: drawing glass printmaking

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Isaci Etidloie

First Name: Isaci

Last Name: Etidloie

Biography (English): Isaci Etidloie was an Inuk sculptor from ᑭᙵᐃᑦ / Kinngait [Cape Dorset]. Inspired by the artistic legacy left by his father, Etulu Etidloie, and his grandparents, Etidlooie Etidlooie (1910 – 1981) and Kingmeata Etidlooie (1915 – 1989), Etidloie picked up his first set of hand tools at the age of seven. Like many other artists, his earlier works are filled with figures engaged in the daily practices of nomadic Inuit life: hunting, fishing, cooking or sewing. Drawing upon the influence of his father’s profession as an Inuit folk singer, Etidloie often explored themes that were expressed through song such as drum dancing, supernatural stories and elaborate spirit transformations, alongside everyday objects and activities. Showcasing the interactive quality of his work, Etidloie’s piece Singing Spirit (2003), depicts a shaman’s song producing a spirit face. This longer spirit stone, fitted with a mirror, emerges from the shaman’s open mouth, offering the admirer an opportunity to completely pull the portion out and a reveal a reflection of their self. While he enjoyed working on larger pieces, Etidloie also created much smaller items with practical uses. Jewellery boxes, harpoons and pen holders are just some examples of what can be found in his oeuvre. Etidloie’s technical skills further appear in his pieces where multiple materials have been employed. His later work offers up layered constructions that are enlivened not only by contrasting colours and textures but also by expertly balanced forms. Etidloie’s sculptures have travelled in exhibitions throughout Canada, the United States and Europe since the 1990s, including Dezhan Ejan (2004) at the Canadian Embassy in Washington, DC and at the Gemeentelijk Kunstcentrum Inuit art show in Belgium (1994). His works are featured in a number of permanent collections such as the Art Gallery of Ontario in Toronto, ON, and the Canada Council Art Bank in Ottawa, ON.

Biography (French): Isaci Etidloie était un sculpteur Inuk de ᑭᙵᐃᑦ / Kinngait [Cape Dorset]. Inspiré par l'héritage artistique laissé par son père, Etulu Etidloie, et ses grands-parents, Etidlooie Etidlooie (1910 – 1981) et Kingmeata Etidlooie (1915 – 1989), Etidloie a acheté son premier ensemble d'outils à main à l'âge de sept ans. Comme beaucoup d’autres artistes, ses œuvres antérieures sont remplies de personnages engagés dans les pratiques quotidiennes de la vie nomade inuit : chasse, pêche, cuisine ou couture. S'appuyant sur l'influence de la profession de chanteur folk inuit de son père, Etidloie a souvent exploré des thèmes exprimés à travers des chansons telles que la danse du tambour, des histoires surnaturelles et des transformations spirituelles élaborées, aux côtés d'objets et d'activités du quotidien. Présentant la qualité interactive de son travail, la pièce d’Etidloie, Singing Spirit (2003), dépeint le chant d’un chaman produisant un visage spirituel. Cette pierre spirituelle plus longue, équipée d'un miroir, émerge de la bouche ouverte du chaman, offrant à l'admirateur la possibilité de retirer complètement la partie et de révéler un reflet de lui-même. S'il aimait travailler sur des pièces plus grandes, Etidloie créait également des objets beaucoup plus petits avec des utilisations pratiques. Coffrets à bijoux, harpons et porte-stylos ne sont que quelques exemples de ce que l'on retrouve dans son œuvre. Les compétences techniques d’Etidloie apparaissent également dans ses pièces où de multiples matériaux ont été utilisés. Ses œuvres ultérieures proposent des constructions superposées qui sont animées non seulement par des couleurs et des textures contrastées, mais également par des formes savamment équilibrées. Les sculptures d’Etidloie ont voyagé dans des expositions partout au Canada, aux États-Unis et en Europe depuis les années 1990, notamment Dezhan Ejan (2004) à l’ambassade du Canada à Washington, DC et à l’exposition d’art inuit du Gemeentelijk Kunstcentrum en Belgique (1994). Ses œuvres sont présentées dans un certain nombre de collections permanentes telles que celles du Musée des beaux-arts de l'Ontario à Toronto, en Ontario, et de la Banque d'œuvres d'art du Conseil des Arts du Canada à Ottawa, en Ontario.

Website Link: https://www.inuitartfoundation.org/profiles/artist/Issacci-Etidloie

Community Detail: recoGnj3Hf0wf9phl

Birth Year: 1972

Medium: sculpture

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ᔭᓐ ᑲᕕ John Kavik

First Name: ᔭᓐ ᑲᕕ John

Last Name: Kavik

Biography (English): ᔭᓐ ᑲᕕ John Kavik was a sculptor and ceramicist from ᐅᖅᓱᖅᑑᖅ / Uqsuqtuuq [Gjoa Haven], NU living in the area between ᖃᒪᓂᑦᑐᐊᖅ / Qamani’tuaq [Baker Lake], NU and ᐃᖃᓗᒃᑑᑦᑎᐊᖅ / Iqaluktuuttiaq [Cambridge Bay], NU. Kavik came to carving later in life, following his experience working in mines in ᑲᖏᕿᓂᖅ / Kangiqliniq [Rankin Inlet], NU. A prominent theme in Kavik's work is the human figure, in particular his sculptures of mother and child. Kavik generally carved solitary, expressive figures and sparingly used deep grooves to denote mouths, kamiik (boots) and parkas. He frequently used small drill holes to create eyes and nostrils or the outlines of hands. Often his figures had a rough texture and were unpolished, however, figures such as Somersaulting Man: As I Think of Myself (1964) were exceptions to this stylistic preference. Kavik also worked as a ceramicist, crafting thick pieces featuring motifs of people and animals emerging from the sides of the vessel in addition to clay figures that emulated his carving style. Kavik has been featured multiple times in the Inuit Art Quarterly and has a rich exhibition history participating in numerous group and solo shows in Canada, the United States and Japan. In 1986, Kavik had his first solo exhibition titled Sculpture by John Kavik at Craft Ontario (formerly The Guild Shop) in Toronto, ON. His work is housed in major collections including the Art Gallery of Ontario in Toronto, ON, the Vancouver Art Gallery in Vancouver, BC, and the Winnipeg Art Gallery in Winnipeg, MB.

Biography (French): John Kavik Inuuliqtuminiq nunalingannik Uqsuqtuuq John Kavik nuqqaqsimajuq asini inuusilimaagalammini nutilaurani Qamanittuarmut 1958-ngutillugu inillalaurani suli Kangiqsinirmut 1959-mi. Sanannguaqattapallialilauqsimajuq ujaqqanik sanalluataqtaqaqsuni, 1960-ngutillugu. Kavik titiqtugaqattapallialilauqsimammijuq, ammalu titiqtuutinik taqsalinnik atuqattapallialilauqsimatsuni paippaami, taitsumuunatsainnaq. Sanaugaqti ilausimajuq Kangiqsinirmi marralirijinut (marraliriniq ingirralauqsimajuq 1965-mik 1973-munut), sanavatsutik sunatuinnannguanik. Sanaugaq, piluaqtumik anaanaujuq qiturngalikjaqsuni, katitsimajut inunnguat ammalu takutsautitsijut angunasuarnikkut piqqusiujunik, ammalu umimmattaqalauqpatsutik, sanagajuttangit ujaqqanik sanannguaqsuni, titiqtugait ammalu marraliarisimajut. Ajjiungittunik sanaqattarninga ammalu ipinnianirmik atuqattarninga angiluanngittuq kisiani ilagutsiutisimajuq ippinnianingit atautsikkut. Nuataugajutsutik sanannguagangit, Kavik takutsautitsivallialilauqsimajuq sanaugarminik katimajunik takutsautitsitsuni 1965-ngutillugu, ilaulluni 50 ungataaniittunut takutsautitsijunut Kanatami ammalu nunarjuarmi, ammalu inutuutsuni takutsautitsilauqsimajuq 1986-ngutillugu. Qaujimajauniqpauqataulluni sanaugaqtini nunalimmini, John Kavik inuujunniilauqsimajuq Maatsi, 28, 1993.

Website Link: https://www.inuitartfoundation.org/profiles/artist/John-Kavik

Community Detail: recpfTUMgW5XHCYwF

Birth Year: 1897

Medium: sculpture

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ᔭᓇ ᑭᒍᓯᐊ Janet Kigusiuq

First Name: ᔭᓇ ᑭᒍᓯᐊ Janet

Last Name: Kigusiuq

Biography (English): ᔭᓇ ᑭᒍᓯᐊ Janet Kigusiuq was an Inuk artist. In 1967, Kigusiuq began to draw to supplement her family's income after encouragement from her mother. Kigusiuq's bright, bold and graphic work focused on camp life activities like hunting and fishing and supernatural forms inspired by Inuit spirituality and stories. The source of these motifs are principally drawn from childhood experiences at the family camp, Kitikat in the Back River region. Throughout her career she experimented with many artistic mediums, including drawing, print, textiles, wall hangings. She adopted printmaking following the family's move to ᖃᒪᓂᑦᑐᐊᖅ / Qamani'tuaq [Baker Lake] and between 1970 and 1988 she contributed to the ᖃᒪᓂᑦᑐᐊᖅ / Qamani'tuaq [Baker Lake] print collections. In 1984, Kigusiuq delivered a copy of her mother's work Giver of Life to Pope John Paul II in Ottawa, Ontario as a gift from the Canadian Inuit. Her mature work saw the development of pencil crayon colour fields and collage techniques, the latter prompted by the onset of arthritis.

Biography (French): ᔭᓇ ᑭᒍᓯᐊ Janet Kigusiuq était une artiste inuite. En 1967, Kigusiuq a commencé à tirer pour compléter le revenu de sa famille après les encouragements de sa mère. L'œuvre lumineuse, audacieuse et graphique de Kigusiuq se concentre sur les activités de la vie de camp comme la chasse et la pêche et sur les formes surnaturelles inspirées de la spiritualité et des histoires inuites. La source de ces motifs provient principalement des expériences de l'enfance au camp familial de Kitikat, dans la région de Back River. Tout au long de sa carrière, elle a expérimenté de nombreux médiums artistiques, notamment le dessin, l'impression, les textiles et les tentures murales. Elle a adopté la gravure après le déménagement de la famille à ᖃᒪᓂᑦᑐᐊᖅ / Qamani'tuaq [Baker Lake] et entre 1970 et 1988, elle a contribué aux collections d'estampes ᖃᒪᓂᑦᑐᐊᖅ / Qamani'tuaq [Baker Lake]. En 1984, Kigusiuq a remis une copie de l'œuvre de sa mère Giver of Life au pape Jean-Paul II à Ottawa, en Ontario, comme cadeau des Inuit canadiens. Son travail de maturité a vu le développement des champs de couleurs des crayons de couleur et des techniques de collage, ces dernières étant motivées par l'apparition de l'arthrite.

Website Link: https://www.inuitartfoundation.org/profiles/artist/Janet-Kigusiuq

Community Detail: recZJXig7mWdp3Us2

Birth Year: 1926

Medium: drawing printmaking

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ᕕᐃᑎᕋᐊ ᒪᒍᓯᐊᓗ Victoria Mamnguksualuq

First Name: ᕕᐃᑎᕋᐊ ᒪᒍᓯᐊᓗ Victoria

Last Name: Mamnguksualuq

Biography (English): ᕕᐃᑎᕋᐊ ᒪᒍᓯᐊᓗ Victoria Mamnguksualuq (sometimes Mamnguqsualuk or Mamnguksualuk) was one of the best-known Inuk artists of her generation. She is best known for her silkscreen and stencil, prints, but has worked in sculpture, drawings, and fabrics as well. Mamnguqsualuk's bold depictions of Inuit myth have been widely praised. Like her mother ᔨᐊᓯ ᐅᓈᖅ Jessie Oonark, she moves easily between the realms of graphic arts and textiles. Eight of her prints were part of the first print edition from ᖃᒪᓂᑦᑐᐊᖅ / Qamani'tuaq [Baker Lake], in 1970, and her pieces have appeared in many collections since then. Her work is informed by some of the stylistic tropes of European art. In her painting Shaman Caribou, Mamnguqsualuk has created a complex composition that illustrates many aspects of the Inuit Shaman's world.

Biography (French): Viktoria Mannguksualuq Viktoria Mannguksualuq inuuliqtuminiq 1930-mi Garry tasingani, Back River mitsaani, ungasinnilimmi 250-kilumiitanik uannaqpasingani pingannaqpasingani Qamanittuaq, Kivallirmi, Nunavut. Mannguqsualuk ilamini piruqsakainnalauqsimajuq kisiani piruijausimajuq ataatatsiakkuminnut. Pijjutiqaluaqsuni anaanatsiangata ilinniatitsigutinginnik titiqtugaqti tunisimaniqalauqtuq titiqtugaqpatsuni unikaangusimajunik niviaqsiangutillugu. (Anaanatsiarijaujuq piqqusingittigut inuit unikkaaqtuaqtiusimammat). Unikkaaliuqsimajuq Kiviuq, qanutuinnaq aulaniqaqattaqsimatsuni, ilaanikkut takutsautitauvattunik kinguliriittinnagit, titiqtugarusigiqattaqsimajanga amisunut titiqtuganginnut. Mannguqsualukkuk uigiik qiturngariit aullaalauqsimajut Qamanittuarmut 1960 pigiaqpallialiqtillugit. 1963-ngutillugu pigiaqpallialilauqsimajuq titiqtugaliuqpatsuni ammalu ujaqqanik sanannguaqattapallialiqsuni, kingunitsiangagut nuqqautitsugu, titiqtugaqattaliqsuni ammalu akinnarmiutarnik miqsuqattaliqsuni. Jack Baatla, sanaugalirijitaaqqauq 1969-ngutillugu, titiqtugaqattaquvallialilauqsimajanga unikkausituqarnik unikaaqtuarnillu. Amisut titiqtugangit titiqtugaliarijaulauqsimajut 1970-mik 1990-mu5, ammalu 90 nunguppallialiqtillugit tikitsugu 2001. (Titiqtugaliurniq qanutuinnatsiaq, maanna nuqqangakainnaqtuq Qamanittuarmi). Kingulliqpaami arraagutamaaqsiutiit sakkutaujujut 2001-ngutillugu. Mannguqsualuq qaujimajautsiaqtuq unikkaaqtunik titiqtugaqasuungugianga ammalu miqsugaqasuungugianga. Tamakkiinnik suli pilirivattuq ullumi. Pivalliasimatsiaqsuni kinguvaarijaulluni titiqtugaqtinut, panigijaujuq qaujimajammariujumut Jessie Oonark (1906-1985). Bio de l'artiste:

Website Link: https://www.inuitartfoundation.org/profiles/artist/Victoria-Mamnguqsualuk

Community Detail: recZJXig7mWdp3Us2

Birth Year: 1930

Medium: drawing fibre printmaking

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