As noted in the preceding work, the influence of David’s brother, Abraham Anghik, and, by extension, that of Abraham’s teacher, Ronald Senungetuk, is unmistakable in David’s artistic approach.

This lineage of mentorship and exchange is not simply a matter of technique but of sensibility. A shared attentiveness to form, material, and the expressive possibilities of abstraction. Senungetuk’s legacy, filtered through Anghik’s own artistic explorations, manifests in David’s sculptural language as a balance of tradition and modern refinement.

In this work, the addition of hair, arcing in tufts from the top of the mask in almost animate curves, recalls the use of organic materials in Iñupiaq mask making traditions—where caribou fur, feathers, and other natural elements were integrated to heighten movement and theatricality in performance.

Nadine Di Monte