Syollie Weetaluktuk succeeded his father as the leader of the Kangirqsukallaq camp, about forty kilometers south of Inukjuak. When one encounters his work it is easy to understand why Syollie was scouted by James Houston as a talent already in 1949; he went on to become one of the most important Inukjuak artists of the 1950s.

It is the exceptional attention given to individual details — the way in which her centre parted hair falls behind her rather large ears and is styled in to two tightly wound braids; her gentle laugh lines exquisitely rendered to spread broadly crossing her cheeks; her slender nose, hooked slightly upward — which bring his simple, elegant compositions to life. Although portraiture, proper, was uncommon in Inuit art at this period, we cannot help but speculate that the distinct physiognomy of this young woman must be someone that the artist knew intimately, perhaps a wife or a daughter.