Originally from Kimmirut, Tudlik moved to Kinngait in the early 1950s and was among the first to carve there at James Houston’s invitation. His work quickly gained southern recognition. Tudlik began by carving various animals but gradually focused on birds, with a particular emphasis on owls.

The present work is an especially compelling example. Carved from a richly hued green stone with a soft matte finish, it balances endearing eccentricity with a remarkable sculptural presence, which is all the more impressive given its modest scale. The bird's rounded wings taper smoothly at its back and sides, while stout legs provide a grounded stance. The wide-set, concentric eyes and slight beak lend it an endearing presence: charming, alert, and full of personality.

ND

References: For similar examples see George Swinton, Eskimo Sculpture, (Toronto: McClelland & Stewart, 1965), p. 85; George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972), figs. 6, 441, p. 9, 183; Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971), cats. 196, 199.