Making Marks: DRAWINGS FROM KINNGAIT

These images illustrate well the contrasting styles  of fantasy and realism so apparent in early drawings from Kinngait. The detailed depictions of scenes taken from traditional life by Quppapik contrast with Parr’s fantastical drawing.

Simeonie Quppapik (1909-1997) was steeped in traditional life on the land where he spent his formative years. Although he is not well-known by collectors, he readily involved himself in the drawing program at the Kinngait Studios after moving into the settlement. While one of his prints appeared in the 1960 Cape Dorset Annual Collection, it would not be until 1986 that he would once again be represented in collections, perhaps as his more minimalist style came into favour. Here, Quppapik provides a detailed depiction of fox traps and a flow edge camp.    

Eva Parr was born in 1938 and spent the first part of her life on the land. Her drawing style directly contrasts with Quppapik’s detailed, narrative images. For this drawing she created a  fully  fanciful image in which birds, fish, and animals all share one stylized animal head, the focal point of  the drawing.  This is a compelling image, lyrical in its simplicity.

Who is not aware of the wonderful world created by Pudlo in his drawings? Born on the land and steeped in traditional knowledge, Pudlo Pudlat (1916-1992) moved into Kinngait in the early 1960s and was immediately a “convert” to the drawing program run by the WBEC. When carving became difficult due to an injury, Pudlo devoted himself full time to creating drawings and eventually became a mainstay of the Kinngait Studios. He readily adopted new materials and forms as they became available and rapidly gained a strong following in the South. His early drawings in graphite gradually gave way to images filled with colour. Pudlo’s work astonished and delighted collectors whether they featured whimsical animals and birds, or documented the encroaching Southern culture as seen through the changing “urban landscape” of the artist’s drawings. The combination of these seemingly disparate elements offers a new spin on the idea of “transformation” in Inuit art imagery. 

Pictured: [Studio portrait of Pudlo Pudlat with his artwork], Library and Archives Canada, Judith Eglington Fonds

These two artists both enjoyed showing scenes from traditional life, often concentrating on the role of women. Both were born in the early 20th century and were in their mid 40s to early 50s when they moved into the settlement of Kinngait and took up drawing. 

Pitseolak Ashoona (1904-1983) shows us one of her favourite scenes, the annual migration to summer camp. The women, children and dogs typically followed the hunters over the land to the area chosen for setting up a summer camp. Not only the women but also the children are burdened with packs. Even the dogs carry heavy loads! Using colour variations to emphasize the expanse of the land, Pitseolak manages to create an illusion of depth in this drawing.

In her drawing, Lucy Qinnuayuak (1915-1982) depicts a different aspect of seasonal migration, this time by boat. Known especially for her exuberant images of birds, Qinnuayuak also enjoyed portraying scenes from her early days. The hunter in his kayak is followed by a larger sailing boat, an  update on the traditional umiak or skin boat used by family members for travel on water long ago. Charming birds accompany the boats, completing this peaceful scene of travel on calm waters.

Pictured:  Pitseolak Ashoona (left) and Lucy Qinnuayuak (right) at installation in Ottawa, Ottawa, National Gallery [Masterworks Exhibition] [graphic material], Library and Archives of Canada, Department of Indian Affairs and Northern Development fonds 

Mary Pudlat (1923-2001) was both a sculptor and a  graphic artist. She became a revered elder who signified respect and continuity of the traditional heritage; she was chosen to light the qulliq at the Kinngait community celebration on the day that Nunavut officially became an independent territory.  Her descriptive drawings show the viewer the ‘old ways.’  Here, a tea kettle is suspended over a traditional qulliq or seal oil lamp. Using a very formal triangular composition, Pudlat captures this image for future generations. 

Pictured: Mary Pudlat, Photo Credit John Paskievich, Inuit Art Foundation

Kingmeata Etidlooie (1915-1989) began to carve and draw in the late 1950s while still living a semi-nomadic lifestyle, and she eventually became a prolific artist. More than 50 of her images were translated into prints between 1970 and her death in 1989. Using simplified animal and bird motifs she concentrated on the formal rather than the narrative qualities of her subjects. Kingmeata embraced acrylic painting and developed a highly sophisticated combination of acrylic wash and line to create saturated, colourful images in which detail is mixed with nuanced layers of colour, as can be seen in Landscape with Arctic Animals.

Pictured:  [Studio Portrati of Kingmeata Etidlooie, West Baffin Cooperative], Library and Archives Canada, Judith Eglington Fonds

Arnaqu Ashevak (1956-2009) was part of the generation that had a more limited experience of living on the land. He became aware of the Southern world initially at school, but then primarily through his sense of curiosity. As an adult, Arnaqu was a voracious reader of international art magazines as well as a keen follower of global news and media. This influenced his drawings; everything from television documentaries to world events are reflected in his unique drawings. Arnaqu was the adopted son of Kenojuak Ashevak and learned from her the strong work ethic that dominated her own life. Not only was he  a sculptor and graphic artist, Arnaqu also apprenticed in the printing workshops and readily participated in a residency in Banff, Alberta to learn the art of ceramics.

Pictured: Arnaqu Ashevak, Dorset Fine Arts

Aoudla Pudlat (1951-2006) was a talented sculptor and graphic artist who eventually moved from Kinngait to Qamani’tuaq (Baker Lake) in the 1990s and remained there until his  death. He was a printmaker as well,  which informed the extraordinary detail presented in his energized, colourful  images. The vibrant colours and spirited lines seen in School of Fish and Bird Protecting Nest are typical of his unique style. Even the more realistic Bird on Nest and Perched Bird  are enlivened by the fine detail of its feathers and the outcrop on which the birds stand. 

Pictured: [Studio portrait of Aoudla Pudlat, West Baffin Cooperative], Library and Archives Canada, Judith Eglington Fonds.

Born in 1972, Nujalia Pootoogook is of the younger generation who were born and raised in the settlement of Kinngait. These three drawings, however, indicate an interest in showing traditional life. A powerful figure wields a drum and beater in Kneeling Drum Dancer, while the details of the clothing and the hunting implements are clearly defined in Hunter with Bow and Arrow. Depictions of muskoxen are found frequently in drawings from Kinngait, despite the fact that these powerful animals are not found on Baffin Island. The sinewy lines of the muskox and the dynamic movement of the wolves are united by the addition of the snow covered land. Pootoogook has  worked as a printmaker in the studios and more recently has worked with watercolour and acrylic paint in addition to pencil crayons.

Pictured: Annie Pootoogook's Nujalia, Napachie, and Annie, c. 2005, Feheley Fine Arts

Ningiukulu Teevee is an active member of the Kinngait Studios, in addition to being an author and illustrator whose first children's book Alego was shortlisted for the 2009 Governor General's Award. This lovely drawing captures many elements of Ningiukulu’s graphic style.  The Sedna figure is drawn with a lyrical line which presents a fully resolved semi-circular composition. The  detail of the scales, tails and braids are drawn in the artist’s typically detailed lines; these three elements emphasize and anchor the curving forms of the drawing. Above all, it is a touching portrait of a mother nursing her infant child.

Pictured: Ningiukulu Teevee, left, and Darelene Coward Wight,  The Washington Diplomat