Latcholassie Akesuk is widely recognized for his imaginative owl carvings, often imbued with human-like gestures and personalities. His works are cherished for their humour and charm and are admired for the way they balance abstraction with warmth. These distinctive owls have found a place in many of the most respected public art collections across North America [1].

In the 1985 catalogue for Uumajut: Animal Imagery in Inuit Art at the Winnipeg Art Gallery, Bernadette Driscoll describes that, in the carvings of Latcholassie, a soulfulness is present. She continues and suggests that his animal works embody inua, the animating presence or spirit that resides within living beings (p. 43). His works, however, are not mystical in the theatrical sense but they speak to something essential. Something felt.

This work carries that felt presence with ease. Here, the little fellow greets the viewer with a raised wing that reads unmistakably as a wave. The blocky, sculpted knees – a hallmark of the artist’s style – serve as stout, functional legs but also evoke the image of a man sitting comfortably on the ground, at ease and firmly rooted. The broad, symmetrical form and rounded contours give the owl weight but also a buoyant charm. This welcoming bird is irresistible and delightful. A charming embodiment of Latch’s gift for turning stone into something that feels joyful and alive.

1. To name only a handful: National Gallery of Canada, the Art Gallery of Ontario, the Montreal Museum of Fine Arts, the Winnipeg Art Gallery (Qaumajuq), the University of Michigan Museum of Art, the Museum of Anthropology at the University of British Columbia, and the Dennos Museum Center.