In contrast to the later work of Luke Anguhadluq in this exhibition (no. 22), Animals reflects Luke Anguhadluq’s use of multiple perspectives, a technique that not only reflects his own artistic style but also draws heavily on traditional Inuit approaches to spatial organization.

The fusion of spatial perspectives has deep precedents predating the modern Inuit art period. For example, a small pencil drawing collected by Knud Rasmussen in 1923 illustrates both summer and winter hunting methods on a single plane, combining viewpoints to depict different activities simultaneously. Similarly, Thule ivory carvings often used natural contours to orient figures and objects along different lines, creating a layered and multidimensional representation of life.

However, Anguhadluq’s approach remains uniquely his own. Jack Butler describes Anguhadluq’s drawing process as highly intuitive. The artist would sit on the floor and rotate the paper as he worked, allowing figures to emerge oriented to various edges of the page.

The interplay between historical precedents and Anguhadluq’s individual practice transforms this drawing into more than a representation of animals. It becomes a reflection of both legacy with innovation.