Despite its name, Tumira Ashoona’s work illustrates an inunnguaq, which is a stone cairn that is meant to represent the likeness of a person. The rocky body of the figure is coloured by Timothy Ottochie is a cool green-grey that closely quotes the facets of stone used to create an inunnguat. The resting bird is inked in black silhouette, subtly emphasizing its inclusion. While this gull has a clear affinity with its setting, its addition reveals an incongruity: While inuksuit and inunnguat are historic markers, the artist brings the structures into the present by adding a transient, living element to the work. Taken together, it reminds us that inuksuit and inunnguat are symbolic representations of an important link to past generations.

References: Image reproduced in James Houston, Eskimo Prints, (Barre, MA: Barre Publishers, 1971), p. 109.; The Inuit Print, international travelling exhibition, (Ottawa: National Museums of Canada and the Department of Indian and Northern Affairs, 1977), reproduced p. 92, pl. 38; Jean Blodgett, Eskimo Narrative, (Winnipeg: Winnipeg Art Gallery, 1979), p. 9; Inukshoo was used as the cover image for Hivunirmut Takulluni, Titirarhimayut Niruaqtuliqiyimin Atanguyamin Kingulliqpaamik Niruaqtillugin Nunatiap Katimayiryuanginnik 1995 - Ngutillugu (Looking to the Future : Election of the Thirteenth Legislative Assembly of the Northwest Territories, 1995), (Ottawa: Chief Electoral College, n.d. [1996?]; and elsewhere.

The exact historic functionality of inuksuit and inunnguaq in the Canadian Arctic is not known. It has been speculated that they may have been mounted to a marker for travel routes or food caches, to signal hunting or fishing grounds, or as structures to channel animals when hunting, to serve as a monument, or some combination of the aforementioned.