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In his essay Anguhadluq's art: Memories of Utkuhikhalingmiut, Charles Moore, citing Jean Blodgett, writes of the present Old Woman, as well as other works by the artist, 'the independent depiction...
In his essay Anguhadluq's art: Memories of Utkuhikhalingmiut, Charles Moore, citing Jean Blodgett, writes of the present Old Woman, as well as other works by the artist, "the independent depiction of the single female figure as one of Anguhadluq's favorite and strongest subjects. [...] Old Woman (75/18) present[s], frontally, hulking female forms, described accurately by Blodgett (1976) as "reminiscent of prehistoric representations of an earth mother... primeval and archetypal". Here, the essential signs of femaleness are fulness of body, braids, facial tattooing, and costume design" (p. 6)
Moore continues, "Such single, female forms, dominating the page, are both forceful and ambiguous. Their combination of sparse and simplified, but realistic detail, abstraction of form, and imposing size makes them the most individualistic of Anguhadluq's human figures while, at the same time, suggesting womanhood and earth mother, earthiness and supernatural presence. Like some other forms seemingly held in awe by his mind's eye (the muskox, a boy giant, the reverberating drum), Anguhadluq's isolated females appear as privileged representations of that force which is nature itself and of which Utkuhikhalingmiut society felt itself a part". (p. 6)
Image reproduced in Bernadette Driscoll, Baker Lake Prints & Print-Drawings 1970-76, (Winnipeg: Winnipeg Art Gallery, 1983), p. 38, along with the artist's original drawing. The drawing is also reproduced Jean Blodgett, Tuu'luq / Anguhadluq: An Exhibition of Works by Marion Tuu'luq and Luke Anguhadluq of Baker Lake, (Winnipeg: Winnipeg Art Gallery, 1976), cat. 63, reproduced, unpaginated. See Charles H. Moore, "Anguhadluq's art: Memories of Utkuhikhalingmiut," Études Inuit Studies, Vol. 2, No. 2, 1978, pp. 3-21.