In Big Woman, we gaze at a plenitude of feminine objects: two beautifully dressed rose-red and white tudliit (hairsticks) tumble from the woman’s face, which is left un-inked save the densely incised lines of her composite facial tattoos. On either side, the figure is flanked by opposing stylized ulus (women’s knives) brilliantly coloured in complementary hues of orange and purple. These colours (along with bright yellow) are echoed in the beautiful amautiq (woman’s parka) with its kiniq (front flap), and her boots or leggings), along with the central addition of blazing yellow on the coat. The small figure atop her head may be read as a spirit helper but may also represent a child in her amautiq hood or as the concept of a maternal instinct made visible.

Oonark’s strategy of construction for her feminine imagery and accouterments, the latter of which are mostly unique to traditional Inuit culture, has been discussed at length by several scholars as a celebration of feminine display. However, we propose that this visual feast of feminine emblems, when combined with the powerful and imposing scale of the work, bridge the notions of femininity and feminism. We are stirred by the symbolism in Big Woman and moved by its meticulous authorship.

Interestingly, Oonark revealed that this image depicts “…a woman who is turning into a stone, in Chantrey Inlet. The stone itself is really colourful because this woman has a fancy parka. She turned into stone because she never wanted to get married to anybody…. The woman is supposed to be in a kneeling position, but I just drew it in a standing position anyway” [1]. The hairsticks seem to emphasize this stance, while the ulus radiate their own energy.

1. As told to Marion Jackson in 1984, quoted in Maureen Flynn-Burhoe, “Jessie Oonark: Woman in the Centre” in Inuit Art Quarterly (Vol. 14, No. 2, Summer 1999: 26-30), p. 28.

References: This image has been widely reproduced and discussed. See Jean Blodgett, Grasp Tight the Old Ways: Selections from the Klamer Family Collection of Inuit Art, (Toronto: Art Gallery of Ontario, 1983), cat. 21, reproduced in colour, p. 18 and p. 55, pp. 54-7; Canadian Museum of Civilization, ed., In The Shadow Of The Sun : Perspectives On Contemporary Native Art, (Hull, QC: Canadian Museum of Civilization, 1993), p. 524; Marie Bouchard, Power of Thought: The Prints of Jessie Oonark, exh. cat., (Richmond, VA: Marsh Art Gallery, 2001), p. 24; and Bernadette Driscoll, Baker Lake Prints & Print-Drawings 1970-76, (Winnipeg: Winnipeg Art Gallery, 1983), p. 75, along with the original drawing. The original drawing is also reproduced in Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 131, p. 163; Jean Blodgett and Marie Bouchard, Jessie Oonark: A Retrospective, (Winnipeg: Winnipeg Art Gallery, 1986), cat. 62, p. 87. For other writings on Oonark’s depictions of women see Bernadette Driscoll, "Tattoos, Hairsticks and Ulus: The Graphic Art of Jessie Oonark" in Arts Manitoba (Fall 1984), pp. 12-19; Maureen Flynn-Burhoe, “Jessie Oonark: Woman in the Centre”, Inuit Art Quarterly, (Vol. 14, No. 2, Summer 1999), pp. 26-30. See also Robert Enright, “The Art of Jessie Oonark: Ceremonies of Innocence” in Inuit Art Quarterly, (Vol. 2, No. 14, Winter 1987), pp. 3-6.