The influence of David’s brother, Abraham Anghik, and, by extension, that of Abraham’s teacher Ronald Senungetuk, is unmistakable in David’s artistic approach. This lineage of mentorship and exchange reflects not only shared technique but shared sensibility, a mutual attentiveness to form, material, and the expressive potential of abstraction. Senungetuk’s legacy, carried forward through Anghik’s own explorations, emerges in David’s sculpture as a meeting of tradition and modern refinement.

In this work, hair arcs upward in lively tufts, lending the mask a sense of motion and vitality. The tactile addition recalls Iñupiaq mask-making traditions, where caribou fur, feathers, and other organic materials were incorporated to heighten expression and animate the mask in performanc