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Open a larger version of the following image in a popup: PUDLO PUDLAT (1916-1992) KINNGAIT (CAPE DORSET), Winter Angel, 1969 #54

PUDLO PUDLAT (1916-1992) KINNGAIT (CAPE DORSET)

Winter Angel, 1969 #54
Printmaker: EEGYVUDLUK POOTOOGOOK (1931-1999) KINNGAIT (CAPE DORSET)
stonecut, 24 x 36.75 in (61 x 93.3 cm)
36/50
LOT 7
ESTIMATE: $500 — $800
View on a Wall
This delightfully eccentric subject belongs to a moment in Pudlo’s artistic development that Marie Routledge, in Pudlo: Thirty Years of Drawing (1990), identifies as a late-1960s period in which “Pudlo’s...
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This delightfully eccentric subject belongs to a moment in Pudlo’s artistic development that Marie Routledge, in Pudlo: Thirty Years of Drawing (1990), identifies as a late-1960s period in which “Pudlo’s images of women become focused in a group of drawings that combine female and angel imagery with playing-card motifs” [1]. Winter Angel, with its scalloped lines and intricate regalia, calls to mind the elaborate gowns of court cards in a French-suited deck. The result is a majestic, almost theatrical figure whose wings erupt in a fevered matrix of lines, part sacred, part cabaret.



Pudlo’s fascination with angels may well reflect a kind of visual syncretism. In Christian iconography, the angel serves as a divine intermediary, a messenger caught between earth and heaven. In Inuit spiritual tradition, it is the shaman who transcends the everyday, often transforming into birds or other animals to travel between worlds. Perhaps what we’re seeing isn’t an angel at all, but a shaman mid-flight, captured in that liminal moment of becoming.


And yet, for all its layered symbolism, the figure seems blissfully unbothered by the perilous drop. With an almost mischievous smile, it floats through space, borne aloft by two great feathered fronds. The whole scene hums with improbable grace, like the old circus ballad come to life: 

“He’d fly through the air with the greatest of ease 

A daring young man on the flying trapeze.”


1. Marie Routledge & Marion Jackson, Pudlo: Thirty Years of Drawing, (Ottawa: National Gallery of Canada, 1990), p. 23

*Though the garb of the creature recalls female clothing, it may simply be a representation of ecclesiastical robes.
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Provenance

Private Collection, Hamilton.
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The main office of First Arts Premiers Inc. is located on the ancestral and traditional territories of the Mississaugas of the Credit, Anishinaabe, Haudenosaunee, and Huron-Wendat, the original owners and custodians of this land.  Today, it is home to many diverse First Nations, Inuit, and Métis peoples.

 

 

 

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