artists

Tudlik began carving in the very early 1950s. He carved mostly animals throughout the 1950s, including bears, but especially charming owls that influenced his son, the famous Latcholassie Akesuk

Cee Pootoogook was born on August 1, 1967. Around 1990, Cee began carving and he developed a solid reputation for his curious and well executed depictions of spirits and transformations.

“I started drawing because I was tususkuk (when I saw other people doing it, I wanted to do the same things)…When I start to make a drawing, I have a picture in my mind, but when I try to put that picture on paper, my hands won’t do what my mind wants. When I have the picture in my head, I can’t get it out by my hands. Sometimes I find it hard to draw when my children are in the house; I find it hard to think with so much noise around me. I make the kids go outside.” — Eegyvudluk

A daughter of graphic artist Mary Kudjuakjuk, Qaunaq grew up traditionally on the land and began to make small carvings after her father’s death when she was still a girl. She married Oqutaq Mikkigak; they were encouraged by James and Alma Houston to make carvings.

Iyola Kingwatsiak’s wife is a graphic artist. Several of his siblings are or were also artists in Cape Dorset. His sister the late Tye Adla (1936-1990) was a carver and graphic artist.

Johnny Pootoogook is a talented sculptor and printmaker, who currently lives in Kinngait pursuing his artistic career. His father, Kananginak, a prominent and involved community leader, was a sculptor and printmaker himself.

With a vision that is at once highly personal and often politically subversive, Cape Dorset’s Jutai Toonoo is a dynamic voice in contemporary Inuit art and in Canadian art more generally. Born in 1959, Toonoo belongs to the first generation of Inuit to grow up in permanent year-round settlements as opposed to small seasonal camps. He learned to carve by watching his father

Kananginak Pootoogook, sculptor, designer, draftsman, printmaker (born a Ikerrasak camp, south Baffin Island, NWT, 1935). Son of the great camp leader, Pootoogook, he came to Cape Dorset in 1958, when James Houston brought printmaking to the North. He became one of the four original printers. Kananginak works in all media, including silk-screen printing of textiles.

Keeleemeeoomee Samualie was born on the land on the west coast of Baffin Island, NU. Samualie’s work was featured in several Cape Dorset Annual Print Collections from 1969-1983, and has influenced multiple generations of artists, including her granddaughter, Nicotye Samayualie.

When I first started to make a few lines on paper, my love, Johnniebo, smiled at me and said, ‘Inumn,’ which means ‘I love you.’ I just knew inside his heart that he almost cried knowing that I was trying my best to say something on a piece of paper that would bring food to the family. I guess I was thinking of the animals and beautiful flowers that covered our beautiful, untouched land

Kiakshuk (Keeakshook) was born in 1886 on the south coast of Qikiqtaaluk (Baffin Island), Nunavut. He would move with his family to the Andrew Gordon Bay area east of Cape Dorset (Baffin Island) in the early 1900s. He died in April 1966.

Born at Itinik camp near Lake Harbor, Northwest Territories, Canada, Kingmeata Etidlooie grew up and spent most of the first half of her life in similar sites along the southwest coast of Baffin Island. She began to carve and to draw in the late 1950s after the death of her first husband, Elijah.

Kudluajuk Ashoona was born in Cape Dorset on December 2, 1958. Her biological parents were the well-known carvers, Kabubuwa and Tayara Tunnillie. She was adopted by the family of the notable graphic artist, Simeonie Quppapik. Kudluajuk did not seriously begin to make art until 2011.

A prolific Canadian Inuit artist, Mary Pudlat retains clear memories of her early years living in the traditional Inuit hunting lifestyle in the area near Povungnituk in Arctic Quebec. Orphaned as a teenager, she lived for a while with her brother in Ivujivik before moving to Baffin Island in the early-1940s.

Mayoreak Ashoona – Inuit artist from Cape Dorset, Nunavut Territory presented by DaVic Gallery of Native Canadian Arts

Melia is a talented and prolific carver. She is married to Cape Dorset artist, Joe Jaw and they have five sons. Melia has strongly encouraged them to learn the art of carving. Her sons, Pootoogook, Noah, Qiliqti, Salomonie and Kingwatsiak Jaw have all become carvers in Cape Dorset.

Mosesee comes from a family that has had as its members, a longlist of very well-known and respected artists. Mosesee herself however did not begin drawing until very recently. Mosesee has explored several directions in her work but most of her drawings are personal snapshots of everyday experiences in her life.

Although much of Napachie’s early work, such as the print ‘Eskimo Sea Dreams’ (1960), presents a lyrical, dream-like reflection of Inuit beliefs in the spirit world, the main thrust of her prints and drawings since the mid-1970s has been more concerned with recording traditional life, clothing, and local Inuit history.

Nicotye is the daughter of Kudluarjuk Ashoona and Johny Tunnillie Samayualie. Nicotye’s grandmother, Keeleemeeoomee Samayualie was a well-known graphic artist whose prints were represented in the Cape Dorset annual print collections throughout the 1970s and ’80s.

Born May 27, 1963, Ningeokuluk is the daughter of Joanasie Salomonie (deceased) and his wife Kanajuk. Her father, Joanasie, was much loved in Cape Dorset for his sense of humour, mischief and compassion. Ningeokuluk works full-time for the department of Housing in Cape Dorset, and devotes her spare time to her family and whatever time she can to her drawing, which she does at home.

Nuna Parr’s interest in hunting and his regard for the animal life of the Arctic are directly reflected in his work. His rounded forms have great movement and a natural flow with the grain of the stone, as if both were made for each other.

Ohotaq Mikkigak began drawing in the early years of the print program in Cape Dorset, and his print, “Eskimo Fox Trapper” was released in 1961. He became less involved with drawing as the community grew, working instead for various community agencies in full-time wage employment.

Pudloo Samayualie is a multi-disciplinary artist from Kinngait (Cape Dorset), NU who is best known for her illustrations and technical virtuosity. Samayualie began drawing in high school, encouraged by her father. Samayualie’s experimentation with different media, from animation to jewelry are a testament to her creativity.

Parr is a highly important artist from twentieth century Inuit art history. His drawings visualize an important period of transition from semi-nomadic life to relocation in settlements. While Parr’s work was unappreciated during his lifetime and often considered crude and childish, has now been the subject of many major exhibitions after his death.

Pauta grew up on the land and began carving as a teenager, making implements and tools from ivory. Later, he carved narrative camp and hunting scenes.

Pitaloosie was born in 1942 on the southwest coast of Baffin Island near what is now the community of Cape Dorset. She spent her childhood years in various hospitals in Quebec and Ontario for treatment of tuberculosis. She learned English during this time, and recalls the difficulty she experienced in relearning her native language upon her return to Baffin Island in 1957.

Pitseolak Niviaqsi – Inuk artist from Cape Dorset, Nunavut Territory presented by DaVic Gallery of Native Canadian Arts.

Pudlo Pudlat lived for much of his life in the Kimmirut region, hunting and fishing to provide for his family. He moved to Cape Dorset in the late 1950s, and here he began his career as an artist. His early drawings are simple outlines made with lead pencil.

A daughter of graphic artist Mary Kudjuakjuk, Qaunaq grew up traditionally on the land and began to make small carvings after her father’s death when she was still a girl. She married Oqutaq Mikkigak; they were encouraged by James and Alma Houston to make carvings. Qaunaq made some drawings in 1960 and in the late 1970s but preferred carving.

Kov was one of the youngest artists to be selected for the important exhibition “Sculpture/Inuit. Sculpture of the Inuit: Masterworks of the Canadian Arctic,” which toured the world (1971-73). He has continued to produce work that is both powerful and memorable, often on a large scale.

Saggiassie (Sakiassie) lived for many years in Tikirak camp near Cape Dorset.  “The old way of drawing was very different.  There was a lot of imagination then.  Now, actual creatures and other things are drawn.  I drew lots of subjects from traditional life.  I also drew lots of things that are imaginary because I didn’t know what to draw,”

Sharnie is the sister of Pauta, a well-known carver. She was married to the carver and graphic artist, Pudlat Pootoogook (1919 – 1985). Sharni’s daughter, Sarah Putuguk is a printmaker; her adopted son, Elijah Pootookgook, is a carver and graphic artist.

Sheouak Petaulassie (also known as Sheouak, Sheowa Sheouak, Sheowak Sheouak, Sheoak Sheouak) was involved with the graphic art production at the West Baffin Eskimo Co-operative. She was one of the first Inuit to incorporate Southern material culture into her drawings in pieces like “The Pot Spirits” (1960).

Simionie began to draw around 2010. He was inspired by his wife, well known artist Ningiukulu Teevee and his work is influenced by memories of watching his father Jamasie Teevee draw when Simionie was growing up.