For several decades, drawings in Kinngait served primarily as an image bank for the local print program. As the 1980s unfolded, a subtle crescendo of public appreciation began to emerge, propelled by group and solo exhibitions at select public and commercial galleries. By the 1990s, the once overlooked drawings had blossomed into coveted artifacts among discerning collectors. Within the Kinngait Studio's nurturing environment, artists found encouragement to experiment with various mediums and paper sizes to articulate their visions. Given her virtuosity and success in all other mediums, Kenojuak's swift ascendancy to prominence in large-scale drawings came as no surprise.

With her masterful use of coloured pencil and ink, Kenojuak's prowess in this new artistic landscape is brilliantly demonstrated by Pyramid of Owls. The faces of six smaller owls are layered below a large owl, from whose head emanate multicoloured flowers and leaves that envelope the entire group. The composition's pyramidal shape, complemented by pleasing vertical symmetry, imbues the avian scene with a sense of harmony and stability. Meticulous ink strokes define the downy plumage of the owls while the foliage is a riot of flat, free flowing colour. The benign eyes of the owls invite the viewer into their world. With their slightly open mouths, it is tempting for us to imagine a choir of owls in which the undulating foliage signifies the notes of happy, joyful music.