Beginning in the late 1960s, a deposit at Andrew Gordon Bay supplied the calcite rich white or "arctic" marble seen in the present work. The stone itself is slightly coarse in the grain and it demands of those working with it real labour. It is hard and dense under the tool, yet it rewards that effort with a pale body that seems to hold light, rather than simply reflecting it.

Kenojuak’s work in the stone is undeniably spectacular. Here, the form of the bird sits close and self-contained, drawn inward as if warmed by its own weight. Only small lifts of marble break the rounded bulk to give the wings, the beak, the eyes, and the talons their presence. The surface feels satin-smooth to the touch, soft rather than glossy, so the pale body seems to drink in light. Through it, grey-beige veins wander and feather out, suspended in the of the white stone.