While the Kinngait Studios have long been hailed for their highly successful printmaking program it is only recently that the short-lived hand-printed textile initiative, which took place in the 1950s and 60s in Cape Dorset, has received due recognition. Just as the prints from that period showcased varied inspirations, the textiles drew heavily from the Inuit graphic tradition, southern art market preferences, prevailing graphic design trends, and the techniques of Japanese block and stencil printing.

In this work by Pitseolak Ashoona, We Eskimo People, in a mosaic of green and red, the artist highlights the spirit Inuit joy. Scores of what figures come together harmoniously, evoking the sense of a celebration. Some figures beat skin drums, while others contort in dance poses, skip, or confidently execute handstands. The joyous energy that radiates from the textile is a testament to both the celebratory spirit of the Inuit and the artistic prowess of Pitseolak Ashoona.

As both pattern elements, broadly speaking, highlight human figures engaged in leisurely pursuits, in this printed textile by Pitseolak, we see echoes of the 18th-century Toile de Jouy patterns. However, while the elements of We Eskimo People are distinctly representational, their spatial arrangement and graphic flatness evoke an abstract pattern and Pitseolak has created her design with considerably more with airy abandon. The design captivates with its harmonious blend of structured order and unpredictable rhythm.