In the early years of Qamani’tuaq’s art production, suitable carving stone was in short supply, prompting many artists to experiment with alternative materials such as antler (see Lot 76). While most eventually moved on, a few continued to work in the medium throughout their careers, and fewer still achieved the technical refinement and expressive clarity of Luke Iksiktaaryuk. Shaman with Belt and Head Ornament (Snow Goggles?) exemplifies the artists’s understanding of the material: his handling of antler is not only deft, but deliberate, revealing a sculptural vocabulary rooted in restraint and precision.

In this work, Iksiktaaryuk presents two potent markers of shamanic identity: the talismanic belt and a head or face ornament, each rendered with the same elegant economy that defines his distinctive approach. While there is no shortage of works by the artist that feature shamanic belts, we are not aware of another example that includes a head or face ornament. Its presence here, then, feels deliberate. It is an exception that draws attention to itself and invites further consideration.

The head or face ornament in this work closely resembles snow goggles, a comparison that invites reflection rather than certainty. As Jean Blodgett notes, belts and headbands formed part of the shaman’s visual vocabulary, setting him apart from the everyday clothing of his peers and marking moments of ritual or spiritual significance. Belts appear often in the anthropological and material records, typically used to suspend charms, carved figures, animal bones, and other implements of ceremony. Headbands, by contrast, are mentioned far less frequently. Yet both are understood as outward signs of the shaman’s distinct role and status within the community (Blodgett, The Coming and Going of the Shaman, 1978, p. 155). Seen in light of these observations, the present sculpture stands out not only for its material and technical skill but for its specificity.