In his essay Anguhadluq's art: Memories of Utkuhikhalingmiut, Charles Moore, citing Jean Blodgett, writes of the present Old Woman, as well as other works by the artist, "the independent depiction of the single female figure as one of
Anguhadluq's favorite and strongest subjects. [...] Old Woman (75/18) present[s], frontally, hulking
female forms, described accurately by Blodgett (1976) as "reminiscent of prehistoric
representations of an earth mother... primeval and archetypal". Here, the essential signs of
femaleness are fulness of body, braids, facial tattooing, and costume design" (p. 6)

Moore continues,
"Such single, female forms, dominating
the page, are both forceful and ambiguous. Their combination of sparse and simplified, but
realistic detail, abstraction of form, and imposing size makes them the most individualistic
of Anguhadluq's human figures while, at the same time, suggesting womanhood and earth
mother, earthiness and supernatural presence. Like some other forms seemingly held in awe
by his mind's eye (the muskox, a boy giant, the reverberating drum), Anguhadluq's isolated
females appear as privileged representations of that force which is nature itself and of which
Utkuhikhalingmiut society felt itself a part". (p. 6)