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Kenojuak Ashevak CC RCA was one of Canada’s most acclaimed graphic artists, with a long list of honours. In the 1960s she quickly gained recognition for her prints and has since become possibly the most renowned Inuit artist in the world.
"Pee Ashevak was adopted at an early age by Kenojuak and Johnnybou Ashevak. Although she lived with the family of Cape Dorset’s most renowned graphic artist it was Pee’s young son Arnaqu who inspired her to begin drawing seriously in 2016. Her depictions of wildlife and traditional camp scenes have a thoughtful and endearing quality". DFA
Kudluajuk Ashoona's biological parents were well-known carvers Kabubuwa and Tayara Tunnillie. She was adopted by the family of the notable graphic artist Simeonie Quppapik. Kudluajuk seriously began to make art until 2011 when she was inspired to draw by her daughter, Nicotye Samayualie. Her work: narrative; often depicts scenes of contemporary family life.
"Mayoreak’s carvings are very dynamic and strong and having uniquely feminine perspectives in their rendering as do her drawings. You can see the influences from her background in the art she produces. Ashoona draws in a variety of styles (including abstract) and the figures that she produces are engaged in a variety of activities. Ashoona has in the context of her paintings and drawings an ability to explore, to work and capture the essence and master techniques of abstract or figurative representation through symmetry and balance". DFA
"Winner of the Aboriginal Achievement Award for Arts and Culture in 2002, Ohito Ashoona is one of Cape Dorset’s pre-eminent sculptors. His powerful carvings of bears and other wildlife are in many prominent collections and Ohito has had several solo exhibitions in North America and Europe. Only recently has Ohito taken up graphic art. His etching & chine collé 'Prowling Bear' is his first ever print". DFA
Pitseolak was among the first in Cape Dorset to begin drawing, and the most prolific. Her prints have appeared in every annual print collection since her work was first published in 1960. Her best and most authentic drawings were of “the old Eskimo ways”, a way of life deeply embedded in her memory. Pitseolak was awarded several honours;, her work was the subject of several projects. In 1971 the National Film Board produced a film based on her book, “Pitseolak: Pictures out of my life”. In 1974 she was elected a member of the Royal Canadian Academy and she received the Order of Canada in 1977. Her vast legacy of orginal work now resides on long term loan at the McMichael Canadian Art Collection.
Shuvinai’s work was featured along with her aunt, Napachie Pootoogook, and her grandmother, the late Pitseolak Ashoona, in the McMichael Canadian Collection’s 1999 exhibition entitled “Three Women, Three Generations”. She was profiled along with Qavavau Manumie of Cape Dorset and Nick Sikkuark of Gjoa Haven in the Spring 2008 issue of Border Crossings, a Winnipeg-based arts magazine. In an unusual contemporary collaboration, Shuvinai worked with Saskatchewan-based artist, John Noestheden, on a "sky-mural" that was exhibited at the 2008 Basel Art Fair and was shown again at Toronto’s 2008 "Nuit Blanche". It later traveled to the 18th Biennale of Sydney in 2012 and in 2013 it was part of ‘Sakahans’ an exhibition of international Indigenous art at the National Gallery of Canada. In 2009 her work was presented alongside Toronto-based artist Shari Boyle at the Justina Barnicke Gallery at Hart House. Shuvinai is also the subject of a documentary art film, Ghost Noise, produced and directed by Marcia Connolly.
Shuvinai is gaining more international attention and in 2013 she was included in the prestigious Phaudin publication, ‘Vitamin D2. New Perspectives in Drawing’. Shuvinai was represented at SITElines 2014 Unsettled Landscapes in Sante Fe, New Mexico.
Kingmeata was known for her painting and sculpture, often well-structured visual works predominantly featuring bird and animal motifs with rich, saturated colors and formal composition. Her works are held by the National Gallery of Canada, Art Gallery of Ontario, Winnipeg Art Gallery, and the Canadian Museum of History.
Sheojuk Etidlooie 'had a short, remarkable career and is remembered for her minimalist, abstract prints and drawings. Her most frequent subjects were animals that were depicted from aerial or cross-sectional perspectives. From 1994 to 1999 Etidlooie contributed 44 prints to the Cape Dorset Annual Print Collection. Her works are held in the permanent collections of the Winnipeg Art Gallery, Canadian Museum of History and the Museum of Anthropology (British Columbia)'. IQ
"Olooreak Etungat is an adoptive daughter of Abraham Etungat, a well-known sculptor from Cape Dorset. Although she has taken a couple of jewelry courses, Olooreak is largely a self-taught artist who was inspired to take up drawing seeing the work of others in the community. Olooreak’s work blends the traditional and the contemporary, often in quite sensitive and unexpected ways". DFA
Siassie came from a family of notable Cape Dorset artists. Her mother Mayoreak Ashoona has been a mainstay of the Cape Dorset annual print collection for many years and her father was the renowned sculptor, Kaka Ashoona. Her two cousins, Annie Pootoogook and Shuvinai Ashoona are well known contemporary artists.
Siassie's work was often large scale and her drawings characterized by an intimate and contemporary approach to the depiction of traditional lifestyles. DFA
Kiakshuk's work can be found in the following Collections: British Museum, Fine Arts Museum of San Francisco, McMaster Museum of Art, McMaster University, Metropolitan Museum of Art, Museum of Anthropology, University of British Columbia, National Gallery of Canada, National Museum of the American Indian, Pennsylvania Academy of the Fine Arts, San Juan Islands Museum of Art
'Killiktee Killiktee comes from a long line of artists starting with his father, Shortie Killiktee. His grandparents on his mother’s side, Kopapik Ragee and Arnirnik Ragee were prominent Cape Dorset artists and his biological brothers are well known carvers, Toonoo Sharky, Napachie Sharky and Allasuaq Sharky,
“I learned how to carve by watching my brothers Toonoo Sharky, Napachie Sharky and Allasuaq Sharky working on their carvings. I enjoy carving different types of animals, especially bears and eagles.”
Killiktee is also an accomplished draughtsman and a couple of his drawings have been translated into limited edition prints'. DFA
'Born in Cape Dorset in 1987, Ettusa’s parents are Qaluituk Kingwatsiaq and Jutai Mikkigak. Her grandparents on her mother’s side were Pootoogook and Iyola Kingwatsiaq and her grandparents on her father’s side were Qaunak and Ohotaq Mikkigak. Around 2012 and 2013 she started making art. She was inspired by the work of Nicotye Samayualie particularly in the piece entitled 'Rabbit', her favorite animal because they are cute and cuddly. Ettusa comes from a long line of artists from both sides of her family: Ohotaq was a well- known graphic artist; Qaunak is a well-known carver and graphic artist; and Lola Kingwatsiaq was also a well-known printmaker, graphic artist and carver'. DFA
'Iyola (Iola) Kingwatsiak was born in Kinngait (Cape Dorset) in the Qikiqtaaluk Region (Baffin Island). He was a visual artist that specialized in the creation of carvings, drawings and prints. Kingwatsiak started to develop his artistic practice in Kinngait and resided there for the remainder of his life. Kingwatsiak commenced his artistic practice as a carver and later became known for his creation of prints in Kinngait between 1959 and 1977, as well as from 1984 to 1988. He was additionally noted for creating artworks that featured Inuit figures within northern environments and Arctic animals, such as birds, whales, walruses and bears'. IF
Qaluituk is the daughter of the late Mikkigak Kingwatsiaq. Her mother was Novalinga Kingwatsiaq. Both of her parents were carvers, as is her aunt, Oviloo Tunnillie. Her favourite subjects are birds and scenes depicting people engaged in traditional outings and chores.
Simeonie was the brother of artists Pudlo Pudlat and Osoochiak Pudlat.
'Mosesee comes from a family that has had as its members, a longlist of very well-known and respected artists. Mosesee herself however did not begin drawing until very recently. Mosesee has explored several directions in her work but most of her drawings are personal snapshots of everyday experiences in her life'. DFA
'Joanasie's mother, Annie Manning, worked in the north and south as a translator for English and Inuktitut. She is well versed in the art of sewing and doll making. Joanasie's grandfather, Osuitok Ipeelee of Cape Dorset, is a well known carver from whom Joanasie openly admits he has drawn not only his inspiration but from whom he has learned to sculpt'.
'Joanassie began carving at the age of twenty, credits his grandfather, carver Osuitok Ipeelee, as a great influence on his work. After carving sporadically for a number of years, Joanassie is now working more consistently. He has evolved a personal style that is becoming stronger and more confident as his primary love of owls evolves through his sculpture. His depiction of owls generally with their chicks shows that despite his strength there is an underlying paternal instinct'. DFA
"Qavavau has demonstrated a range of stylistic abilities over the years - from the very literal to the more expressive. His work is idiosyncratic and often amusing in his depictions of Inuit legends and mythology, Arctic wildlife and contemporary aspects of Inuit life. Qavavau is the latest among the second generation to attract critical acclaim from the contemporary arts audience in the south. He and Shuvinai Ashoona have been profiled, along with Nick Sikkuark of Gjoa Haven, in the Winnipeg- based arts magazine, Border Crossings. He traveled to Toronto in June of 2008 for his first solo exhibition of original drawings, and in 2009 to Vancouver for another exhibition featuring his contemporary work. He was invited to attend an opening of his work in Victoria in the fall of 2012".
"For several years Qavavau has worked for the Kinngait Studios as a printmaker - first in the lithography studio and more recently in the stonecut studio. He is an accomplished and precise printmaker". DFA
'Tukiki’s parents, Davidee and Paunichea as well as his brothers, Axangayu Shaa and Qavavau Manomie are also artists. He was one of Cape Dorset’s most original and unique sculptors. Tukiki’s easily recognized carvings used the basic shapes of hands, claws and antlers as motifs , carving the appendages into bird and animal heads that expressed his vision of the natural world as being interconnected and interrelated'.
'Tukiki’s work is included in many prominent museums and private collections throughout Canada and he had a strong following in Germany where he travelled to attend one of his solo exhibitions in 1988'. DFA
'Ohotaq was born in 1936 and lived in Cape Dorset with his wife Qaunak, who is a carver and traditional throat-singer. He began drawing in the early years of the print program in Cape Dorset, and his print, Eskimo Fox Trapper, was released in 1961. He became less involved with drawing as the community grew, working full time instead for various community agencies. After his retirement from his job as caretaker of the Peter Pitseolak School in Cape Dorset, Ohotaq resumed his interest in drawing'.
'Three of his prints in the 40th anniversary collection released in 1999 and he was represent in every subsequent collection until his death in 2014. His drawings covered a wide range of themes and subjects, including an illustrated life history'.
'Ohotaq had his first solo exhibition of prints and drawings in 2010, and in 2012 a number of his large scale drawings were exhibited in a highly acclaimed show alongside Canadian artist Jack Bush at the Justina M Barnicke Gallery at the University of Toronto'.
'Pitseolak Niviaqsi, RCA, was a carver and printmaker from Kinngait (Cape Dorset), NU. Niviaqsi was renowned for his talents as a lithographer, transferring hundreds of drawings into prints at the Kinngait Studios and was credited in nearly every Cape Dorset Annual Print Collection from 1975 to 2011'.
'Niviaqsi’s works are held in the permanent collections of multiple prominent institutions, including the Winnipeg Art Gallery in Winnipeg, MB, the Canadian Museum of History in Gatineau, QC and the National Gallery of Canada in Ottawa, ON. In recognition of his work Niviaqsi was invested as a member of the Royal Canadian Academy of Arts'. IF
"Born in 1971 in Cape Dorset to Eliakimi Nungusuituq and Lola Tunnillie, Ningiukulu was inspired to make art by her adoptive mother Elisapee Nungusuituq who is a respected stone carver from the region. Although she only completed her first work in 2015 – which was a drawing of a seal – Ningiukulu is rapidly becoming one of Kinngait Studios creative bright lights. Her first appearance in this year’s Cape Dorset Annual Print Collection is a sumptuously rendered kudlik in stonecut and stencil. Ningiukuluk’s remarkably refined practice seeks inspiration from the things around her, various elements of Inuit life and particularly Arctic animals'. DFA
"Enooky is best known for his exquisitely engraved work on highly polished caribou antler. His precise and delicate line work combined with the free, natural form of the antler gives his work a sense of fluid movement. His images are often concerned with sea life and traditional Inuit hunting implements and clothing, particularly the kamik (boot). The kamik is often repeated many times on a particular work. Enooky has a keen sensitivity to the placement of these graphic elements within the positive and negative shape of the antler, making him one of the most sophisticated artists in this medium."
From "Enooky (Innuki Oqutaq)," exhibition brochure, Image of the Inuit, Los Angeles, California, 1981.
'Ningeeuga Oshuitoq , daughter of famed artist Anirnik Oshuitoq, was an Inuit printmaker and sculptor born in Amadjuak Camp, Nunavut. In 1960, she settled in Cape Dorset. After fa five year absence due to tuberculosis, Oshuitoq returned to drawing and sculpting. Many of her drawings include Inuit women, spirit creatures and children'.
'Oshuitoq contributed to the Cape Dorset Graphics annual catalogue between 1966 and 1980. Her art has traveled in group exhibitions throughout Europe, Canada and the United States; her work was included in an Italian show on Inuit art called 'Immaginario Inuit: Arte e cultura degli esquimesi canadesi'. Oshuitoq's work can be found in numerous collections in Canada and the United States, including the Anchorage Museum of History and Art in Alaska, the Art Gallery of Ontario, the Canadian Museum of Civilization in Hull, the Museum of Anthropology in British Columbia, and the Winnipeg Art Gallery'. IF
'Enoosik Ottokie’s mother was the well-known graphic artist Keeleemeeomee Tunnillie. Enoosik’s passion is jewellery making. She earned a certificate in jewellery making at Arctic College in 2004 and while there she also took a course in drawing and etching. Enoosik’s drawings cover a wide range of subjects and approaches'. DFA
Annie Parr is an emerging illustrator, printmaker and engraver. She developed an interest in art making after attending an engraving workshop hosted by Paul Machnick from Studio PM in Montreal. She made her debut appearance in the 2017 Cape Dorset Annual Print Collection with her limited edition (50) print 'Roaming Bears' (shown).
'Eleeshushe and her husband, sculptor and printmaker Parr (1893-1969), lived a traditional nomadic lifestyle with their nine children, both biological and adopted. The couple settled in Cape Dorset, Canada in 1961'.
'Eleeshushe began drawing during the formative years of Cape Dorset's printmaking.One of the more prolific artists - she left over 1,000 prints in the archives of the West Baffin Eskimo Co-operative. Her drawings were included in the annual Cape Dorset Graphics Collection from 1966 to 1969'.
'Eleeshushe occasionally made carvings, and was recognized by her community for her designs and her ability to sew traditional skin garments with inset patterns'.
'Prints, such as 'Boy Playing With Dogs' (1966), shown, demonstrate Eleeshushe's typical depictions of animals, Inuit people and elements of life in Northern Canada. In this specific work, a young Inuk boy plays with dogs, simulating a hunting scene where the dogs represent game and the boy is about to harpoon. The imitation of hunters is an important element in the education of boys. The stencilled drawing has soft shapes of little detail except for the boy's and animal's eyes, mouth and nose'. W
'Tim was best known for his large coloured-pencil drawings of Arctic scenery, wildlife, and Inuit culture. His parents were Napachie and Timila Pitsiulak. He was the nephew of celebrated artist Kenojuak Ashevak. He trained as a carver and then a jeweler at Nunavut Arctic College before focusing on drawing as a career'. W
"His most significant mentor was his late aunt, Kenojuak Ashevak (1927-2013), the artist who created the iconic image of The Enchanted Owl back in 1960. He watched her draw, he absorbed her work ethic, and he modelled the way she made art to sustain her creative spirit and to support her extended family. He could also trace his artistic roots to the draftsmanship and community leadership of Kananginak Pootoogook (1935-2010), the photographer Peter Pitseolak (1902-1973) and his own contemporary Annie Pootoogook (1969-2016), one of the first Inuit artists to experiment in large-scale drawings". GMDec2016
'In 2013 the Royal Canadian Mint featured a Pitsiulak drawing of two beluga whales and a bowhead whale on Canada's 25-cent coin. His work combined traditional motifs with contemporary techniques, and can be found in a number of Canadian and international collections, galleries and museums'.W
'Tim died at age 49 on 23 December 2016 while in the hospital, where he was receiving treatment for pneumonia. He left behind his wife Mary and seven children'. W
'Annie Pootoogook was born in 1969 in Cape Dorset, Nunavut. She began drawing in 1997 and although she did most of her work at home she was a steady presence at the Kinngait studios during the early part of her career. Annie was a member of an artistic family. Her father, Eegyvadluk, was a talented carver and one of the first stonecut printmakers in the studios in Cape Dorset. Her mother, Napachie was a committed graphic artist and long-time contributor to the annual print collections. Her grandmother, Pitseolak Ashoona, was one of the first to experiment with the new medium of drawing during the transition years when Inuit were leaving their traditional camps and moving to permanent settlements in the Canadian Arctic. Pitseolak and Napachie went on to become two of the most prolific and highly respected Inuit graphic artists of their respective generations'.
'Annie Pootoogook was an instinctive chronicler of her times. She shared this sensibility with her mother and her grandmother, both of whom used their drawings to share their way of life with an outside audience. Annie’s drawings reflected her experience as a contemporary female artist living and working in the changing milieu of Canada’s far north. Although firmly rooted to the specifics of her time and place, she managed to transcend cultural boundaries and present the details of her everyday life in an engaging way, inviting the viewer into both her public and private worlds. From the apparently mundane (the line-up for the ATM machine at the Co-op store, watching television with her family) to the personal and intimate (her experience with spousal abuse, the loss of her mother) Annie expressed a wide range of content and emotions'.
'Annie had her first one person show in 2002 and was represented in several successful exhibitions during her career. She spent the summer of 2006 in Dufftown, Scotland where she was artist-in-residence at the Glenfiddich Distillery 'Spirit off Creativity' program. Following a solo show at the The Power Plant gallery in Toronto, she went on to win the prestigious Sobey Arts Award in October and subsequently went on to exhibit at the Basel Art Fair and Documenta 12 in Kassel Germany. Her drawings are in the collections of the National Gallery of Canada, the Art Gallery of Toronto and several other notable institutions. Annie was the subject of a critically acclaimed documentary film by Site Media and her work has been shown in numerous public galleries in Canada and around the world'. DFA
'Cee was born in 1967. Around 1990, He began carving and he developed a solid reputation for his curious and well executed depictions of spirits and transformations. In 2009 Cee gave up sculpture and began work as a stonecut printer. In a very short time Cee demonstrated an aptitude for the precise and methodical qualities required for the time consuming work of editioning prints. He depicts the day to day activities of community life as well as traditional subjects and wildlife'.
'His prints have been featured in the Cape Dorset Annual Print Collection since 2011 and he has exhibited his work across Canada, the United States and Germany'. IF
'Cee is the eldest son of the late Napachie Pootoogook and Eegyvadluk Pootoogook, and older brother to the well known Cape Dorset contemporary artist, Annie Pootoogook'. DFA
'Itee Pootoogook (drawing, carving) was part of a new generation of Inuit artists who are transforming and reshaping the creative traditions that were successfully pioneered by their parents and grandparents in the second half of the 20th century. Born in 1951 in Kimmirut (formerly Lake Harbour) on southern Baffin Island, he moved to Cape Dorset when he was still a child, the son of artists Ishuhungitok and Paulassie Pootoogook'.
'The first print edition of Itee’s work, 'Looking South', was released in spring 2008 as part of the 'Nine Works by Seven Artists' contemporary folio. This was followed by the Fall 2008 Annual Cape Dorset print release, in which Itee’s work was featured with two of his prints'.
'A meticulous draughtsman, Pootoogook looked primarily to contemporary northern life for his subject matter. He was especially interested in modern local architectural forms, producing works in graphite and coloured pencil that depicted various contemporary buildings in Cape Dorset and portraits of acquaintances and family members. Whether they were captured at work or rest, Pootoogook’s subjects were shown engaged in a range of modern activities including stone carving and watching television indoors. These understated images celebrated the mundane moments that make up everyday life. Pootoogook was also an inventive landscapist. Many of his finest Arctic landscapes made use of extended formats, giving emphasis to the open horizon that separates land from sky. Although some compositions were produced from a combination of memory and imagination'. DFA'
"In 1970 Johnny Pootoogook was born in a traditional Inuit camp called Ikerasak, near Kinngait (Cape Dorset), NU. He is a talented sculptor and printmaker, who currently lives in Kinngait pursuing his artistic career. His father, Kananginak, a prominent and involved community leader, was a sculptor and printmaker himself. The artist's work is inspired by his Inuit culture. Johnny Pootoogook has had several exhibitions throughout his career... in 2016 at the Oceanographic Museum of Monaco". IF
'Kananginak was involved with drawing and printmaking since the late 1950’s when the West Baffin Eskimo Co-op first initiated the graphic arts program at Cape Dorset. Kananginak’s first print, a collaborative image with his father, Pootoogook, was included in the first catalogued collection of Cape Dorset prints in 1959. His work has been included in all but three annual collections since that time'.
'Kananginak and his siblings grew up in different camp areas on south Baffin Island. Their main camp was Ikerrasak where their father, Pootoogook, was the respected camp leader. Kananginak married Shooyoo from Cape Dorset in the mid-1950’s. They lived at Ikerrasak until 1958 when they moved to Cape Dorset because of Pootoogook’s failing health'.
'From the beginning Kananginak had represented Arctic wildlife in his work. He was especially capable at drawing many species of birds which frequent the Arctic. In the 2000's he focused on the material culture of the Inuit, producing realistic, narrative drawings of camp and hunting scenes. His work has been produced in several print media – copper engravings, stonecuts, stencils, lithographs and etchings. Kananginak was an accomplished printmaker himself; in the early years he often proofed and editioned his work'.
'Kananginak was a prominent and involved community leader. He was instrumental in the formation of the West Baffin Eskimo Co-operative and served for many years as President of its Board of Directors. He was also a member of the Royal Canadian Academy'.
'In 1978, the World Wildlife Commission released a limited edition portfolio of works in which four of Kananginak’s images were included. His work was featured in numerous exhibitions in both public instiutions and commercial galleries. He was also a notable sculptor.
In 1997, Kananginak was commissioned by the Governor General of Canada, Romeo Leblanc, to construct an Inukshut in Cape Dorset, which was then deconstructed and shipped to Ottawa. Kananginak and his son, Johnny, were then invited to Ottawa to re-assemble the Inukshuk on the grounds of Rideau Hall as part of a tribute to native people in Canada'.
'Kananginak lived in Cape Dorset with his wife, Shooyoo and their family until his death in 2010'. DFA
I enjoy drawing the different kinds of birds. I like to watch them fly; they look so peaceful and free.
'Malaija Pootoogook was born in Iqaluit in the cold winter month of January, 1971. She is the adopted daughter of Paulassie Pootoogook and Ishuhungitok Pootoogook, both now deceased. Malaija was surrounded by artists in her family. Her father, Paulassie was highly regarded as a sculptor and her brother, Mosesee, is also a talented stone carver. Her brother, Itee Pootoogook, has received critical and popular acclaim for his contemporary drawings'.
'Malaiya did her first drawing in 1994, inspired by the work of her great-grandmother, the late Pitseolak Ashoona. She was represented in the annual print collection for the first time in 2011 with two affecting images of the arctic owl. Expressive and monumental depictions of birds and Arctic wildlife are a continuing theme in her work'. DFA
'Born at Sako, a traditional Inuit camp on the Southwest coast of Baffin Island, Northwest Territories, Napatchie Pootoogook was the only surviving daughter of one of Inuit art’s most important figures, Pitseolak Ashoona. Along with her sculptor brothers, [Namoonai, Koomwartok, Ottochie], Kiawak and Kaka Ashoona and her graphic artist sisters-in-law, Mayureak and Sorosiluto Ashoona, Napatchie belonged to a family with a strong artistic identity that has contributed significantly to the reputation of Cape Dorset art and the printmaking studio of the West Baffin Eskimo Co-operative. In the mid-1950’s while living at Kiaktuuq, she married Eegyvukluk Pootoogook (b. 1931), son of the important camp leader, Pootoogook, who has since become of the main printers at the Cape Dorset studio. Like her mother, Napatchie began drawing in the late 1950’s. Since 1960 her work has been included in almost every annual collection of Cape Dorset prints. Napatchie and her husband moved into Cape Dorset in 1965'.
'Although much of her early work, such as the print, “Eskimo Sea Dreams” (1960), presented a lyrical, dream-like reflection of Inuit beliefs in the spirit world, the main thrust of her prints and drawings since the mid-1970’s have been more concerned with recording traditional life, clothing and local Inuit history. In prints such as, 'Atchealda’s Battle' (1978), 'The First Policeman I Saw' (1978), 'Nascopie Reef' (1989) and 'Whaler’s Exchange' (1989), Napatchie used a vigorous, energetic figurative style to bring to life significant events of the past. Like her sister-in-law, Sorosiluto, Napatchie participated in the acrylic painting/drawing workshops established by the West Baffin Co-operative in 1976. Her interest in landscape and Western notions of spatial composition seemed to grow out of this experience. Napatchie worked directly in the lithographic medium and experimenting with life drawing as a preparatory stage toward the print image' .
'Napatchie’s work later focused on local history and stories about people and events in the Cape Dorset area, often with accompanying text to explain the circumstances. She amassed a unique and important body of work. She was represented in the annual collection including three 2000 prints which illustrate her narrative style and the importance of traditional culture and stories". DFA
'Mary Pudlat (Miaji Pullat) was born near Puvirnituq in 1923 and passed away in 2001. She was a printmaker and illustrator who became involved with the Kinngait graphics movement in the 1960s. Her work would be included numerous times in the Cape Dorset Annual Print Collection throughout her career. Pudlat depicted whimsical scenes of camp life, community history and imaginative stories. Her work can be found in several major artistic institutions including the Metropolitan Museum of Modern Art and the National Gallery of Canada'. IF
'Quvianaqtuk is the son of Odlureak Pudlat and Ningeosiaq Pudlat, who were both printmaking artists. His grandfather Simeonie Quppapik was a well-known artist, printmaker and typographer. For many years, he was a well-respected sculptor and his carvings of animals and birds are in many important collections. Recently he began drawing and several of his prints have been included in the 2017 and 2018 Cape Dorset Annual Print Collections. His graphic work has been exhibited internationally. Quvianaqtuk is the 2020 Inuit artist in residence at Open Studio in Toronto'. OS
'Born in 1959 in Iqaluit. Growing up she lived in various camps, the last one being just southeast of Cape Dorset. It is here that Pauojoungie had an opportunity to see all manner of birds and animals which she enjoyed so much that she began drawing wildlife. At Kinngait Studios she became inspired by the work of other graphic artists, and this is where her work became adapted for the print medium. Pauojoungie’s highly accomplished work is characterized by bold lines and blocks of ofen heightened colours. Her compositions are distilled to their essence, which showcases an intuitive understanding of the subject matter'.DFA
'Kakulu was born in 1940 on board the Hudson’s Bay Company supply ship, 'Nascopie'. Her family had travelled from south Baffin Island to hunt and trap in the northern regions of the island. Kakulu was a child when she moved back to the Cape Dorset area'.
'Kakulu began to draw in the early 1960’s when the West Baffin Co-operative established its printmaking studios. Many of her images explore the theme of transformation, with animals blending into other animals, humans becoming animals and vice versa. This is a predominant subject in traditional Inuit folklore and Kakulu Saggiaktok mythology, where the natural and supernatural worlds were mediated by the shaman. Kakulu’s work is always imaginative and often playful and charming and much of her inspiration comes from her childhood memories of living on the land'.
'Kakulu’s mother was Ikayukta (deceased), also one of the early contributors to the annual print collections from Cape Dorset. Kakulu was married to Saggiaktok (deceased), who was a printmaker in the stonecut studio for many years'. DFA
'As a child, Ooloosie was inspired to draw through occasional visits to the home of Kenojuak Ashevak. From these visits Ooloosie gained some valuable insights into the process of drawing and the importance of discipline and perseverance. At age 14 she won first prize at her high school drawing contest and a few years later she began selling her drawings'.
'Ooloosie explored many diverse themes over the years but recently her work has been focused on the northern landscape around her home in Kinngait (Cape Dorset). Her bold and often large drawings are characterized by patches of colour and suggestive lines that aptly express the changing landscape throughout the seasons". Ooloosie is quickly becoming one of Kinngait's (Cape Dorset’s) most promising emerging artists and her work has been shown at numerous galleries in North America as well as the 'Art Toronto' International Art Fair and the 'Art on Paper' fair in New York". DFA
'Pitaloosie began drawing in the early 1960’s, and quickly established herself as an artist. Her work was included in annual print collections since 1968. Since the late 1960’s, Pitaloosie made frequent trips to southern Canada to attend exhibitions and conferences.
'In 1977, Canada Post issued a stamp depicting her print, 'Fisherman’s Dream'. Her 1985 lithograph entitled 'In the Hills' represented the Northwest Territories in the centennial celebration of the National Parks of Canada. Amnesty International, the international human rights organization, selected a drawing by Pitaloosie titled 'Mother and Child' to use for their 1990 Christmas card. She was also one of nine featured artists in the acclaimed exhibition 'Isumavut: The Artistic Expression of Nine Cape Dorset Women', which opened at the Canadian Museum of Civilization in the fall of 1994 and continued to travel to other venues.
Pitaloosie’s husband, Pauta, passed away in Cape Dorset in June of 2009 at the age of 93. In 2004, both she and Pauta were appointed members of the Royal Canadian Academy of the Arts, in recognition of their life’s work and contributions to Canadian art'. DFA
'Padloo Samayualie comes from a family of well-known artists. Her grandparents on her mother’s side are renowned sculptors Qababuwa and Taraya Tunnillie and on her father’s side Keeleemeeoomie Samayualie was a grandmother and Elijakota Samayualie was an aunt. Padloo began drawing seriously while attending a Banff drawing workshop in 2001. In 2007 she was part of an animation workshop in Cape Dorset and she has studied jewelry making at Arctic College'. DFA
'Simionie began to draw around 2010. He was inspired by his wife, well-known artist Ningiukulu Teevee. His work is influenced by memories of watching his father Jamasie Teevee draw when Simionie was growing up. Simionie also used to work in the Kinngait Studios as an assistant lithographer in the late 1970’s and early 80’s Aside from his visual art sensibilities, Simionie is a musician and plays several instruments'. DFA
NINGIUKULU TEEVEE previously known as 'Ningeokulu Teevee' (name change 2017).
'In the fall of 2009, Ningiukulu ’s first children’s book was published, 'Alego', it is an autobiographical story of a young girl named Alego who goes clamdigging with her grandmother for the first time and, along the way, discovers all of the wonders of the seashore. The book was short-listed for the Governor General’s Literary Award for children’s illustration.
Since her first prints appeared in the collection in 2004, Ningiukulu has been one of Kinngait studio’s most celebrated artists. She has a comprehensive knowledge of Inuit legends and a fine sense of design and composition. These elements that have made many of her prints highly sought after by collectors. Ningiukulu had numerous solo shows of her bold and resplendent drawings and her work has been featured in exhibitions, major public galleries and museums'. DFA
'Papiara's first prints were introduced in 2004. Simple forms capture the essence of her subject - whether it be human or animal or some combination of the two. Papiara has an innate sense of design. In 1977 she received an Award of Excellence for her original design in the 'Things That Make us Beautiful' competition organized by the Department of Indian and Northern Development. DFA