Thomas Ugjuk, son of the celebrated Rankin Inlet artist John Kavik (see Lot 17), spent much of his early life in the region between Baker Lake and Cambridge Bay before settling in Rankin Inlet in 1958 to work at the nickel mine, which closed in 1962. Unlike his father, Ugjuk did not become a full-time artist but carving remained an important part of his life. It allowed him to support his family and purchase essential hunting supplies. Ugjuk continued to hunt well into his seventies. Living with his son until shortly before his passing in 1993, Kavik left a direct imprint on Ugjuk, whose sculptures reflect the raw, expressive style of his father and continue a deeply personal and familial approach to art-making.

Carved in Ugjuk’s signature block-like style, both figures here convey an imposing sense of mass and directness. Their broad shoulders, thick limbs, and weighty, grounded feet establish a sculptural language rooted in solidity and presence. The male figure leans forward slightly, a subtle gesture that counterbalances the weight of the animal hitched to his back. The female figure, by contrast, is visually defined by her oversized amautiq hood, which tilts the balance of the composition. This asymmetry introduces a sense of visual tension, drawing the eye and disrupting the otherwise stable geometry of the form.

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