As Karoo Ashevak’s friend Judy McGrath notes in her introduction to the artist’s New York solo exhibition catalogue Karoo Ashevak: Spirits, “Ashevak loves birds” [1]. Indeed birds were among Karoo’s very favourite subjects, whether as stand-alone figures, or shown at their nests, or incorporated into shamanic or spirit compositions (see Jean Blodgett’s 1977 WAG catalogue Karoo Ashevak for several examples). In the Netsilik belief system birds not only were common helping spirits to shamans, they also represented the concept of shamanic spirit flight. And to Karoo, known for his exuberant nature and experimental style, they probably represented the very epitome of freedom.

Bird in Flight is notable for its lovely pose that catches the animal in mid-flight or perhaps preparing to land; its varied textures; and its masterful technical execution. Karoo’s technical prowess is especially important here, as he had to overcome the challenge of working the more porous parts of the bone material (he succeeded beautifully). Karoo also paid special attention to the bird’s plumage, which is so carefully delineated that it becomes an important aspect of the sculpture. Although Bird in Flight might conceivably represent a bird helping spirit, this beautiful sculpture is more likely a loving “portrait” of a bird, perhaps a young owl. Although the work is undated, we suggest a date of 1972 for stylistic reasons, and noting that Karoo created several other fine bird sculptures in that year.

1. Judy McGrath, “Introduction” in American Indian Arts Center, Karoo Ashevak: Spirits, (New York: American Indian Arts Center, 1973).

References: For several examples of birds or sculptures incorporating bird imagery by the artist see Jean Blodgett, Karoo Ashevak, (Winnipeg: Winnipeg Art Gallery, 1977), cats. 3, 17, 18, 20, 21, 27. See also American Indian Arts Center, Karoo Ashevak: Spirits, (New York: American Indian Arts Center, 1973), cats. 2, 4, 8, 10, 12, 14. See also Maria von Finckenstein ed., Celebrating Inuit Art 1948-1970, (Gatineau, Canadian Museum of Civilization, 1999), p. 183; Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), p. 93.