Johnny Inukpuk started carving sometime before 1951 and soon became one of Inukjuak's leading sculptors, with significant encouragement and promotion from James Houston. Darlene Wight’s catalogue Early Masters: Inuit Sculpture 1949-1955 features several early works by the artist and delves into both Inukpuk’s formative years and his artistic journey. By the end of the 1950s, Inukpuk had shifted away from his initial compact, rounded style to create taller, often considerably larger sculptures.

Much of Inukpuk’s oeuvre from the 1960s involved monumental yet intimate portrayals of his beloved wife, Mary, engaged in all manner of domestic activities. Mary is always lovingly depicted with one child in the hood of her amautiq and is either busily stretching a kamik, fetching water, or scraping a skin. Like other Inukpuk gems from the 1960s, this piece demonstrates meticulous attention to the woman’s wide yet refined facial features, hairstyle, and attire.

Although his carvings of the early 1950s were already remarkable, one could argue that Inukpuk reached his artistic height in the 1960s, even as he continued carving well into his nineties.

References: For other important masterpieces by the artist see Mother and Child, Scraping a Skin, First Arts, December 2020, Lot 65; Mother and Child, Carrying a Pail, First Arts, July 2020, Lot 24; Mother Feeding Child in the TD Bank Collection, illustrated in George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972), fig. 55, in Christine Lalonde and Natalie Ribkoff, ItuKiagatta! Inuit Sculpture from the Collection of the TD Bank Financial Group, (Ottawa: National Gallery of Canada, 2005), p. 45, and elsewhere.

MBL