Luke Anguhadluq’s Kayak, featured in the first Baker Lake print catalogue, is a striking study in composition and spatial tension. At its centre is a gestural outline of a kayak, elongated and streamlined, containing a seemingly inverted figure with outstretched arms and a mask-like face. This inversion disrupts our sense of orientation, capturing a moment of suspended movement—calm yet precarious. To the right, a second figure looms in sharp contrast. Upright and reaching with almost-clawed hands, it introduces an unusual dynamic, as though engaging with the figure in the kayak. Yet, it may simply represent the same figure embarking or disembarking, capturing a moment of transition.