An homage to carvers, Shaman and Two Wives marries Aoudla Pudlat’s strengths as both a fantastical and photorealistic illustrator. Structured as a three-panel arrangement, the generous white margins emphasize separation, pacing, and repetition for the work. The left and right panels present near-symmetrical standing figures that face inward, creating a visual corridor toward the centre.

The works depicted are recognizable pieces, including Tattooed Face by Joanasee Kakkik (centre), now in the Winnipeg Art Gallery, and the Dorset antler wand (far left and right), held by the University of Cambridge’s Museum of Archaeology and Anthropology, alongside the known Salluit work of a standing woman. What’s interesting is that Aoudla has imposed a narrative by treating these individual images as a single composition. Each element is complete on its own, yet he draws them into relationship by placing the shaman between two woman or wives and repeating the wand to signal his role. In doing so, he turns separate images into a scene, inviting the viewer to read connection and story where none is explicitly stated in any single work.

The details of the works are are rendered truthfully, so we understand these are known works, yet they float in three blue vignettes across the page. The palette stays cool and restrained, largely blue-grey with black accents. Speckled, clouded textures suggest wash-like fields, while sharper incised lines and patterned passages introduce contrast and tactile variety.