While Kiakshuk’s graphics and drawings are abundant and well documented, his sculptures remain less thoroughly examined. Most are unsigned, which complicates attribution, though stylistic and geological evidence provides useful clues. His earliest carvings, made in the 1950s from the dense grey stone common in Dorset before the discovery of local serpentine, are generally compact with little negative space or relief (see First Arts, 2 Dec 2024, Lot 44). By the early 1960s, after adopting serpentine, he produced figures that were more elongated and detailed. Works from this later period often include raised objects (see lot 8) or children emerging from the hoods of their mothers’ amautiq (see First Arts, 2 Dec 2022, Lot 9).

This Standing Woman, then, is the proverbial missing link, illustrating the transition between these aforementioned phases. It demonstrates that the shift in style was not solely the result of working in softer stone but reflected Kiakshuk’s broader artistic evolution toward taller, leaner, and more articulated depictions of the human figure in the late 1950s.

The beauty of this sculpture lies in its clarity and restraint, qualities that reflect Kiakshuk’s growing mastery of form and material. The figure stands upright and balanced, her amautiq carefully outlined so that its folds give weight and structure to the composition. Her face, defined by gently incised features and a faint smile, conveys warmth without excess, the small etched creases at her eye deepening the impression of her expression. Details such as the braids and hands underscore the artist’s sensitivity, lending the work a sense of animation within its solid frame. The result is a figure both grounded and graceful, shaped by simplicity yet enriched through careful attention to detail.

MBL