The stencil used in this print technique works beautifully here because it allows for gentle tonal transitions that echo the softness of the moment itself. The muted, earthy colours create a sense of warmth and calm. Edges are softened rather than hard, so the figure seems to rest naturally within the pale ground rather than sitting harshly on top of it. This subtlety mirrors the tender intimacy of the scene: a solitary figure, absorbed in the act of working on his carving.

Prints from Kangiqtugaapik (Clyde River) are something of a rarity in the market. The community issued its first collection in 1981, followed by only two more in subsequent years. How lucky we are, then, to offer this tender work.