Hunter’s Vision by Innukjuakju Pudlat occupies a flat, unstructured plane where the usual coordinates of foreground and background fall away. There is no single horizon, no ground line to anchor the eye. Instead, figures are suspended in open space, arranged in loose constellations that resist linear narration. Colour is applied by Lukta Qiatsuk with restraint and purpose. The bear, in pale turquoise, fades at the edges, while the other figures in black and teal form a subdued spectrum that separates shapes without breaking unity.

At the lower centre-left, a creature appears that defies easy classification. With the flippers of a seal, the limbs of a person, and a tail from some other realm, it startles at first glance. Yet its exaggerated features turn the figure from ominous to oddly endearing. Innukjuakju was married to Pudlo Pudlat (see lots 40, 63, 58, and 80) one of the most inventive voices in Inuit drawing, celebrated for his humour and imagination. Though their practices were distinct, both shared a sensibility rooted in transformation and play.