In her essay on the artist, Jean Blodgett discusses Like Anguhadluq's depictions of a female figure, which Charles Moore referred to as one of the artists's "favourite and strongest subjects" [1] [2]. Moore describes the present print and others of a similar theme as presenting, "frontally, hulking female forms" with "the essential signs of femaleness are fulness of body, braids, facial tattooing, and costume design" [3]. Moore concludes that,
"Such single, female forms, dominating the page, are both forceful and ambiguous. Their combination of sparse and simplified, but realistic detail, abstraction of form, and imposing size makes them the most individualistic of Anguhadluq's human figures while, at the same time, suggesting womanhood and earth mother, earthiness and supernatural presence. Like some other forms seemingly held in awe by his mind's eye (the muskox, a boy giant, the reverberating drum), Anguhadluq's isolated females appear as privileged representations of that force which is nature itself and of which Utkuhikhalingmiut society felt itself a part" [4].

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1. Jean Blodgett, "Luke Anguhadluq," Grasp Tight the Old Ways: Selection from the Klamer Family Collection of Inuit Art, (Toronto: Art Gallery of Ontario, 1983), p. 38
2. Charles H. Moore, "Anguhadluq's art: Memories of the Utkuhikhalingmiut," Études/Inuit/Studies, Vol. 2, No. 2 (Université Laval, 1978), p. 6
3. Ibid.
4. Ibid.