Inuit Art Quarterly - Inuvialuit: Celebrating 40 Years of the Inuvialuit Final Agreement by Inuit Art Quarterly

CONTENTS

37.4

Inuit Art Quarterly Inuvialuit

Front

Features

Back CURATORIAL NOTES

03 Message from the Inuit Art Foundation

50 Common Thread: Female Perspectives from the Arctic curated by Sonya Kelliher-Combs

05 From the Editor

PROFILE

06 Meet the Contributors

52 Uumati Kisoun-Inuarak by Janice Grey

08 Impact Update

LAST LOOK

5 WORKS

Umingmak, the Bearded One by Tiffany Raddi

Joe Nasogaluak by Priscilla Boulay

56 Kristian Binder by Reneltta Arluk

CHOICE

20 Drew Michael by Qamuuqin Maxwell ARTISTS’ CORNER

22 Kajungiqsaut Grants

FEATURE

24 In Vivid Colour by Kale Sheppard

Examining the dynamic colours in the artwork of Inuvialuit artists. ON THE COVER

FEATURE

32 Artists Who Transcend Cultural Borders by Annie Wenstrup How two Inuvialuit, Gwich’in and Sahtú Dene artists find inspiration in their heritages. LEGACY

40 The Drum Beats On by Dennis Allen

The determined Elders who kept Inuvialuit drum dancing alive.

Darcie Bernhardt — Nanuk’s Delta Braid 2019 Oil 121.9 × 121.9 cm © THE ARTIST

LEFT

Detail of Uumati Kisoun-Inuarak’s Untitled (2024) installation at at the 2024 Contemporary Native Art Biennale, Saint-Hyacinthe, QC COURTESY BACA PHOTO KATYA KONIOUKHOVA © THE ARTIST

ABOVE

Brian Kowikchuk — Inukshuk 2022 Acrylic © THE ARTIST

Inuvialuit

Front

MASTHEAD PUBLISHER

EDITORIAL

BOARD OF DIRECTORS

The Inuit Art Quarterly is published by the Inuit Art Foundation.

Executive Director and Publisher Alysa Procida

President Heather Igloliorte Victoria, BC

Guest Editor Reneltta Arluk

Vice-President Reneltta Arluk Ottawa, ON

Established in 1987, the Inuit Art Foundation is a not-for-profit charitable organization that provides support to Canada’s Inuit arts communities and is the sole national body mandated to promote Inuit artists and art within Canada and internationally.

Tauttunnguaqti Napatsi Folger Managing Editor Erin Sylvester

This magazine relies on donations made to the Inuit Art Foundation, a registered charitable organization in Canada (BN #121033724RR0001) and the United States (#980140282).

Associate Editor and Editorial Supervisor Jessica MacDonald

The Inuit Art Foundation gratefully acknowledges the support of the Government of Canada through contributions from the Reconciliation Secretariat at Crown-Indigenous Relations and Northern Affairs Canada and the Department of Canadian Heritage, as well as the Ontario Arts Council, Canada Council for the Arts and Ontario Creates.

Associate Editor Emily Lawrence

Subscriptions subscribe@inuitartfoundation.org Canada: $33/yr. Excludes GST/HST. US: $44/yr. Elsewhere: $48/yr. GST/HST #121033724RT0001. The Inuit Art Quarterly is a member of Magazines Canada. Publication date of this issue: December 15, 2024 ISSN 0831-6708 Publication Mail Agreement #40050252 Postmaster send address changes to Inuit Art Foundation. Return undeliverable Canadian addresses to: Inuit Art Foundation 1655 Dupont Street Toronto, ON, M6P 3T1 (647) 498-7717 inuitartfoundation.org

Associate Editor Melissa Kawaguchi

Assistant Editor Tiffany Raddi Copy Editor Carly Brooks Fact Checker Michelle Sones

Isabelle Uyaralaaq Avingaq Choquette Montreal, QC Linda Grussani Ottawa, ON Goretti Kakuktinniq Kangiqliniq, NU Claudette Knight Toronto, ON Michael Massie Kippens, NL Ryan Rice Toronto, ON

Advertising Manager Nicholas Wattson Art Director Maegan Fidelino Arctic Arts Summit Platform Managing Editor Charissa von Harringa Colour Gas Company Printing Flash Reproductions

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FOUNDATION Operations Manager Brittany Holliss Artist Services Manager Amy Norman Awards Manager Paige Connell

ALL RIGHTS RESERVED. REPRODUCTION WITHOUT WRITTEN PERMISSION OF THE PUBLISHER IS STRICTLY FORBIDDEN. THE INUIT ART QUARTERLY IS NOT RESPONSIBLE FOR UNSOLICITED MATERIAL. THE VIEWS EXPRESSED IN THE INUIT ART QUARTERLY ARE NOT NECESSARILY THOSE OF THE INUIT ART FOUNDATION. PRINTED IN CANADA. DISTRIBUTED BY MAGAZINES CANADA.

Artist Portal Coordinator Alessandra Montefiore

FROM TIME TO TIME WE MAKE OUR SUBSCRIBERS’ NAMES AVAILABLE TO COMPANIES WHOSE PRODUCTS OR SERVICES WE FEEL MAY BE OF INTEREST TO YOU. TO BE EXCLUDED FROM THESE MAILINGS, PLEASE SEND YOUR REQUEST, ALONG WITH A COPY OF YOUR SUBSCRIPTION MAILING LABEL, TO THE ADDRESS ABOVE.

Special Projects Officer Malayah Maloney

Inuit Art Quarterly

Secretary-Treasurer Julie Grenier Kuujjuaq, Nunavik, QC

Marketing and Communications Manager Maggie Hinbest Social Media Coordinator Erin Robertson

Program Officer Kyle Natkusiak Aleekuk Special Projects Officer Leanne Inuarak-Dall

Winter 2024

MESSAGE FROM THE INUIT ART FOUNDATION

Thank you so much for reading the Inuit Art Quarterly and for your support of Inuit artists. We are excited to share this special issue with you to celebrate Inuvialuit art and artists and commemorate the 40th anniversary of the Inuvialuit Settlement Agreement earlier this year. This issue, guest edited by Inuvialuk, Dene and Cree artist and IAF Board Member Reneltta Arluk, is packed with incredible artists and highlights the importance and impact of cultural exchange among Indigenous Peoples who occupy the same lands and the ways Inuvialuit are maintaining and reviving cultural and creative practices. As you may know, this is my last issue as Executive Director of the Inuit Art Foundation and Publisher of the IAQ,

Inuvialuit

and I’d like to thank you for your caring, generosity and support. It has been incredible to be part of such a vibrant community of artists, arts organizations, industry colleagues, donors and funders working together to benefit the entire Inuit art community. I look forward to supporting what the future holds as an individual IAQ subscriber and donor, and I hope you will join me in supporting Inuit artists long into the future. Thank you so much for providing opportunities for artists to create, connect and share with the world! Alysa Procida Executive Director and Publisher

Maureen Gruben — What took you so long? 2023 Taxidermy foam bear head and optical fibres 38.1 × 29.2 × 53.3 cm PHOTO JESSANN REECE © THE ARTIST

Front

ᐆᒻᒪᖁᑎᒃ UUMMAQUTIK

MONTREAL MUSEUM OF FINE ARTS

ESSENCE OF LIFE

An all-new presentation of the MMFA’s Inuit art collection to celebrate Inuit artistic and cultural heritage and make it more accessible to all audiences. Learn more at → MBAM.QC.CA

PATRONS

PUBLIC PARTNERS

Françoise Oklaga, Naming the Children after Grandmother (detail), 1986. Printmaker: Hattie Amit’naaq. MMFA, gift of Moira Swinton and Bernard Léveillé in memory of George Swinton. © Public Trustee of Nunavut, estate of Françoise Oklaga. Photo MMFA, Jean-François Brière

FROM THE EDITOR Content note: This article contains a brief mention of residential schools.

This issue celebrates the 40th anniversary of the signing of the Inuvialuit Final Agreement and highlights the creativity and multiplicity of who we are as Inuvialuit, with a special focus on land, animals, family and the various artistic cultures of which we are a part. The Western Arctic evokes curiosity in Inuvialuit, or “the real people,” especially in its political leaders, negotiators, teachers, hunters, drummers, dancers and those who sew, bead, sing, sculpt, paint, write, film and act. I want this edition to be a heartfelt gift to the reader. A visual and written insight into the communities of people who value keeping their word and being modest, yet resilient, through change. A people that continues to thrive within the Inuvialuit Settlement Region and beyond. To begin with, an akpik. Akpiit flourish across Inuit Nunangat with names such as cloudberry and bakeapple, and they also expand into the Scandinavian countries across the circumpolar North. Sometimes when I get lonely for country food, I go to IKEA and buy a jar of Sylt Hjortron, a cloudberry spread, so I can eat it on toast with lots of butter. Akpik was the name given to my father by his grandmother, Alice Simon, and when I was born she also gave it to me. This berry that thrives in the North brings such colour into the fall season, as seen here by Julie Grenier, and teaches me resilience. Similarly, “In Vivid Colour” by Kale Sheppard explores how the paintings of Brian Kowikchuk, Floyd Kuptana (1964–2021) and Logan Ruben express the saturated beauty of Inuvialuit lands. Other stories to look forward to in this Inuvialuit issue include Annie Wenstrup’s Feature, in which she interviews Inuvialuk and Sahtú Dene singer-songwriter Leanne Goose and Inuvialuk and Gwich’in fashion designer and content creator Taalrumiq/Christina King to discuss identity in relation to artistic practice. Meanwhile Janice Grey introduces us to some of the latest works by Uumati Kisoun-Inuarak in Profile, and impressive sculptures by Inuvialuk artist Joe Nasogaluak and Yup’ik and Inupiaq artist Drew Michael are unpacked by Priscilla Boulay and Qamuuqin Maxwell, in their respective Choice articles. For moments such as this, guest editing an issue of the IAQ, I like to go to the Notes application on my phone; it’s where I keep a list of our Inuvialuit values at the ready. I refer to them when I am doing work that is not only in my personal scope but also extends further than myself. This reminds me that we value curiosity, resourcefulness, patience, kindness and ability and appreciate individuals who are responsible and successful at whatever they do. Dennis Allen’s Legacy “The Drum Beats On” is a true example of these shared values. I look at these teachings for moments like this so I can do my best. As an Inuvialuk, it meant so much to be asked to guest edit this incredibly special edition and be able to bring many works and words by Inuvialuit artists and writers together to help celebrate the signing of the Inuvialuit Final Agreement on June 5, 1984: an agreement of three major governments signed under the bright sun of Tuktuuyaqtuuq, Inuvialuit Settlement Region, NT. What I hope for Inuvialuit, and for all Inuit across Inuit Nunaat, is that the next 40 years see us heal the traumas of residential schools, continue to build sovereign agreements that allow the land to flourish with tuttut, umingmait, fish, whale, seal and lots of berries, and build centres that celebrate the multiple generations of Inuit who continue to keep our ways alive with knowledge, practice and art. Quyananni.

Julie Grenier — Arpiit 2024 11/0 and 15/0 Miyuki seed beads, 24k gold-plated beads and findings, caribou fur and home smoke-tanned moose hide 6.4 × 5.1 cm

Reneltta Arluk Guest Editor

Inuvialuit

Front

MEET THE CONTRIBUTORS

A behind-the-scenes look at the issue The IAQ asked the contributors for Inuvialuit to share with readers any surprises, inspirations or anecdotes about their work in this issue. Here is what they said:

“It was wonderful to chat with Leanne, hearing her perspective and about her experiences. Many of us have mixed Inuvialuit and Gwich’in/Dene heritage, and I believe it’s a strength we can draw upon. Belonging to two vibrant and thriving Arctic Indigenous cultures builds connections between our families, communities and nations.”

TAALRUMIQ ARTISTS WHO TRANSCEND CULTURAL BORDERS PAGE 32

DENNIS ALLEN THE DRUM BEATS ON PAGE 40

“Writing this piece brought back memories of my childhood. Remembering the Elders who have passed and how crucial it was for them to pass on the art of drum dancing—I swelled with pride when I wrote about my family carrying on this important custom of Inuvialuit culture.”

I really enjoyed learning about other artists’ blending techniques and styles; it has helped me feel more confident in breaking the traditional rules with my own art—it definitely made me want to paint more.” KALE SHEPPARD IN VIVID COLOUR PAGE 24

This issue’s contributor illustrations are by Nikita Larter Nikita Larter is an Inuvialuk artist and UX designer based in Toronto, ON. Striving for accurate and contemporary Indigenous representation, Larter works on digital illustration, focusing on portraiture, while pop culture inspires their beadwork. Their artwork has been featured in Tusaayaksat magazine and on imagineNATIVE merchandise.

Visit their IAQ profile at inuitartfoundation.org/Nikita-Larter

Inuit Art Quarterly

Winter 2024

COVER SPOTLIGHT

IN THIS ISSUE:

In Vivid Colour Brush Strokes of Inspiration — Across the North Sharing Our Lands, Sharing Our Cultures — And the Beat Goes On Generations on the Dance Floor

Inuvialuit Celebrating 40 Years of the Inuvialuit Final Agreement

QAMUUQIN MAXWELL CHOICE: DREW MICHAEL PAGE 20

“I feel that I grew as an artist and a writer from the process of writing this piece on Drew Michael, and the opportunity to sit with, think about, and appreciate an artwork from a Yup’ik and Inupiaq artist is a memory I will cherish.”

Darcie Bernhardt COVER SPOTLIGHT Darcie Bernhardt presents Nanuk’s Delta Braid (2019), a take on the distinctive Western Arctic Delta Braid, with this issue’s cover art. Hailing from Tuktuuyaqtuuq, Inuvialuit Settlement Region, NT, Bernhardt was inspired to paint this oil on canvas piece by the years they spent watching their mother and grandmother sew meticulous patterns with bias tape onto atigit and atikłuit, or parkas and parka covers. The Delta Braid is a painstakingly crafted trim that layers bias tape or fabric to create family-specific colour combinations and geometric patterns to adorn the sleeves and bottom hems of clothing. In a 2020 interview with the Art Gallery of Nova Scotia, Bernhardt mentioned they chose shades of green and pastel, which are part of their family colour combinations. Nanuk’s Delta Braid was also inspired by artist Jordan Bennett’s 2018–2019 exhibition Ketu’elmita’jik, which integrated brightly coloured Mi’kmaq quillwork from the eighteenth to twentieth centuries, on loan from museums across the country, with motifs and colours inspired by the original quillwork Bennett painted directly on the walls of the gallery. Nanuk’s Delta Braid was Bernhardt’s attempt to explore their heritage and what they wanted their creative designs to signify. As the name suggests, Delta Braids are a specialty shared by the peoples living in the Mackenzie Delta, Inuvialuit and Gwich’in, which makes this painting even more significant for Bernhardt, who is themself Inuvialuk and Gwich’in. It represents a tying together of their mixed heritage while creating a visually stunning piece that is bold in its colours and shapes but minimalistic in composition.

LEANNE GOOSE ARTISTS WHO TRANSCEND CULTURAL BORDERS PAGE 32

Speaking with Taalrumiq was a beautiful acknowledgment of our collective experiences as Western Arctic Inuit.”

Check out this issue’s artists at inuitartfoundation.org/profiles Inuvialuit

NAPATSI FOLGER

Tauttunnguaqti 7

Front

THANK YOU

Donors make all the difference The Ikajuqtiit Circle changes lives all year long Members of the Ikajuqtiit Circle—those who help—are caring donors who protect and nurture the Inuit art community. As Ikajuqtiit Circle members, you provide opportunities for artists to explore their practices, learn new skills and grow. You raise global awareness and appreciation of Inuit art. The generous Ikajuqtiit Circle members listed on these pages make all this and more possible. Thank you! Gifts listed here were made between September 1, 2023, and September 30, 2024.

Lipa Pitsiulak — Evening Games of Spring 1979 Printmaker Thomasie Alikatuktuk Stencil 30.5 × 93 cm COURTESY WAG-QAUMAJUQ AND THE GOVERNMENT OF NUNAVUT PHOTO LIANED MARCOLETA © THE ARTIST

Inuit Art Quarterly

Winter 2024

THANK YOU

IAF Taqqitamaat Tunisijut Circle The Taqqitamaat Tunisijut Circle is a special group of donors who give monthly to sustain the IAF and create opportunities for artists.

Amy Adams Maddie Beaulieu Molly Blyth Robbin Bond Tobi Bruce Christopher Bredt and Jamie Cameron Sue Carter Kay Cookie Cartwright Dr. Anne Croy Gordon Davidson Anne-Marie Delaunay-Danizio Emmanuelle A. Desrochers Hal Dietz Patricia and Donald Dodds Kate Doorly Sophie Dorais Mathieu Doucette Melanie Egan Leslie E. Eisenberg Engelstad Family F. Enright Lynn Feasey Dana Forsman Maxime Fortin Alison Freebairn Anik Glaude Deborah D. Gordon Goring Family Foundation Linda Grussani and Rawlson King

Sari Hannila, in honour of the National Day for Truth and Reconciliation, Inuit survivors, and the artists who tell Inuit stories. ᓇᑯᕐᒦᒃ Celia Harte Lisa R. Hartman Jackie Hatherly-Martin and Keith Martin Dianne Hayman Bryan Hellwig Robert Hurst Lynn Jackson Amy Jenkins Rozanne Junker Paul Kay, in memory of Temma Gentles Dr. Claudette Knight M.A. Konantz Katarina Kupca Dr. Simon E. Lappi Nancy and Terry Lee Jacqueline Littlewood Mike and Cindy MacMillan Michael Martens, in memory of Miriam Bordofsky Roxanne McCaig Joanna Miazga Elizabeth Mitchell and Stephen Lloyd Cathy Moser and Jeff Itzkow

Paul Newman and Tomokazu Nakamura Rachel O’Neill Kara Pearce Joram Piatigorsky Ann Posen, in honour of David Braidberg John and Joyce Price David Pride Alysa Procida and Kevin Stewart David and Robin Procida Maximilien Raab Eva Riis-Culver Margerit Roger Sheilah Rowe Jonathan Beth and Rex Rutchik Kassie Ruth Carol-Ann Ryan and Dr. Matthew Follwell Paula Santrach Leslie Saxon West Joanne Schmidt, in loving memory of Gail Schmidt Paul J. Skahan Joyce and Fred Sparling Charmaine Spencer P. Colleen Suche Jacek Szulc Jay and Deborah Thomson Emilie Tremblay Gail Vanstone

Nicholas Wattson Gord and Laurie Webster Elka Weinstein Peggy Weller Karen Westrell and Bill Rosser Amanda Whitney Kim Wiebe and Aubrey Margolis Craig Wilbanks and Monty Kehl Susan Wortzman and Glenn Smith and five anonymous donors

Tunisiniq Nunarjjuaq Piuniqsauqumut Circle The Tunisiniq Nunarjjuaq Piuniqsauqumut Circle is a special group of donors who have included a legacy gift to the IAF in their will. In doing so they will leave a meaningful legacy that supports Inuit artists for generations to come.

Eleanor R. Erikson Judith Gavin Bryan Hellwig Warren Howard

Inuvialuit

Kathleen Lippa Kara Pearce Richard Sourkes Scott White

Craig Wilbanks and Monty Kehl Bea Zizlavsky and two anonymous donors

Front

THANK YOU

IAF Tunisijut Circle

Monthly supporter Legacy supporter Multi-year pledge supporter Endowment supporter

With annual gifts of $1,000 or more, this incredibly dedicated group provides critical support to connect artists with opportunities and make an extraordinary impact.

$100,000+ RBC Foundation $50,000–$74,999 The TD Ready Commitment $25,000–$49,999 Terra Foundation for American Art at The Chicago Community Foundation and one anonymous donor $10,000–$24,999 Adventure Canada The Chodos Family Fund Joe Miller $5,000–$9,999 Eleanor R. Erikson Erik Haites MakeWay Foundation Lewis Auerbach and Barbara Legowski Donor Advised Fund $2,500–$4,999 Christopher Bredt and Jamie Cameron Gabrielle Campbell Clench House Foundation Patricia and Donald Dodds Joram Piatigorsky Paul and Carole Pizzolante O.N. Kassie Ruth The Herb and Cece Schreiber Foundation Hunter Thompson Ann and Wayne Tompkins $1,000–$2,499 Kristiina and Timmun Alariaq, Huit Huit Tours Ltd. Blair and Tara Assaly Judy Banning Vincent and Barbara Barresi Elise Brais Lisa-Margaret Stevenson Bryan Yvonne Condell

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Kenojuak Ashevak Memorial Award supporter Inuit Art Quarterly supporter IAQ Profiles supporter Artist Services supporter

Hal Dietz Marian Dodds, in memory of Dedie Dodds Arthur Drache, CM , KC and Judy Young Drache Maria Drangova and David Holdsworth Jon and Valerie Eliassen Fath Group/O’Hanlon Paving Ltd. Patricia Feheley Peter Gillespie, in memory of Ly Solomon on behalf of the Solomon and Gillespie Fund Goring Family Foundation Linda Grussani and Rawlson King Sari Hannila, in honour of the National Day for Truth and Reconciliation, Inuit survivors, and the artists who tell Inuit stories. ᓇᑯᕐᒦᒃ Carol Heppenstall Smaro Kamboureli Katarina Kupca Dr. Simon E. Lappi Hesty Leibtag Kathleen Lippa Maija M. Lutz and Peter A. Tassia David and Liz Macdonald MacDonald Griffin Charitable Foundation Susan Marrier Lisa Niedenthal Shannon Norberg and Jarvis Hall Susan A. Ollila Ann Posen, in honour of David Braidberg John and Joyce Price Sanford Riley Leslie Roden-Foreman and Michael Foreman Barbara Turner Gail Vanstone

Craig Wilbanks and Monty Kehl Susan Wortzman and Glenn Smith Norman Zepp and Judith Varga and four anonymous donors (1 , 1 , 3 )

Illannarijaujut Tunngavinngmit $500–$999 Arctic Co-Operatives Limited Devony Baugh Gary Boratto Anne Borchardt, in memory, Claus Borchardt Tobi Bruce Margaret S. Bursaw, in memory of John Maounis Gordon Davidson James Delaney, in memory of Gerald Nicholas Tighe Engelstad Family Harald Finkler and Nadine Nickner Maxime Fortin Alain Fournier Jennifer Fryer Dianne Hayman Molly K. Heines and Thomas J. Moloney Bryan Hellwig Mr. Roger and Mrs. Margaret Horton Lori Labatt Ellen Lehman and Charles Kennel Christie MacInnes Kathryn C. Minard, ISA CAPP, to honour the National Day of Truth & Reconciliation Elizabeth Mitchell and Stephen Lloyd Charles Moss and Dee Fenner

Allan Newell Martin Pâquet Don Pether Alysa Procida and Kevin Stewart Margerit Roger Joseph Salkowitz, DMD Paula Santrach Celine Saucier David Sproule, in memory of Jean Katherine Sproule Jaan Whitehead Kim Wiebe and Aubrey Margolis Cathy Wilkes, in memory of David Wilkes and five anonymous donors (3 , 1 , 1 , 3 , 1 ) $250–$499 James and Marjorie Abel, in honour of Xanthipi Abel Amy Adams Wallace Altes Susan Baum and Robert Ludwig Heather Muir Beecroft Marc Bendick Jean Blane Herbert Braun Margaret Brill-Edwards John and Elaine Butcher Sue Carter Dr. Raymond Currie and Charlene Thacker Currie Fred and Mary Cutler Anne-Marie Delaunay-Danizio Kelly Dickinson Kate Doorly Sophie Dorais Nathalie Ducamp Keith R. Evans KC Alison Freebairn Iet Frumau Peter and Deirdre Gardner Jesse Goodman Deborah D. Gordon John Hanjian and Carmen Nowak

Winter 2024

THANK YOU

Jackie Hatherly-Martin and Keith Martin Laurie Herd Ingo Hessel Joanne Hommik Robert Hurst Cana Uluak Itchuaqiyaq, Iñupiaq Lynn Jackson Paul Kay, in memory of Temma Gentles Nancy Keppelman and Michael Smerza Dr. Claudette Knight Ann Lesk Jacqueline Littlewood Patricia Logrippo Nagesh Mahanthappa and Valentine Talland Dr. Neil and Elaine Margolis Michael Martens, in memory of Miriam Bordofsky Joanna Miazga Robert Michaud Cathy Moser and Jeff Itzkow Quirien Muijlwijk Paul Newman and Tomokazu Nakamura Louisa O’Reilly Donna and Hal Olsen Kara Pearce William and Ann Polk Frank Reid and Amparo Maya Leslie Reid Dr. Timothy W. Reinig Eva Riis-Culver Bruce Roberts Kerstin Roger Sheilah Rowe Susan Rowley Jonathan Beth and Rex Rutchik Carol-Ann Ryan and Dr. Matthew Follwell Leslie Saxon West Joanne Schmidt, in loving memory of Gail Schmidt Karl-Werner Schulte Tom Suber and Cary Griffin George and Jacqueline Szabo Michel Thabet Jay and Deborah Thomson Emilie Tremblay Mark Turner Joel and Evelyn Umlas Peter R. Van Brunt Merri Lea Van Dyke

Inuvialuit

Ed Friedman JoAnne and Richard Fuerst M. Colleen Glass Anik Glaude Gold/Joy Fund (2024) at the Community Foundation for Greater Buffalo Dr. Andrew Gotowiec Nelson Graburn Tekla Harms Cary Hart Celia Harte Lisa R. Hartman Debrah and Brian Hirsch Jane Horner Warren Howard Andrew Hubbertz Dr. Jacqueline Hynes James and Linda Igloliorte Jeannette Jackson-Thompson, MSPH , PHD Amy Jenkins Sharon Jorgens The Josie Family Melinda Josie Rozanne Junker Jennipher Kean, in honour of Elizabeth O’Grady Anne Kearns Mildred Kerr Jo-Ann Kolmes M. A. Konantz Larry and Joyce LaCroix Kathryn Lagrandeur Randy Lazarus Nancy and Terry Lee Rebecca Lee William Lee Gordon Leggett Nora Little, in honour of John A. and Irene Little, John F. Little and Mary Jo Little Lois Loewen Daryl Logan Denis Longchamps Dr. Marie Loyer Peter Lyman Laura Macdonald Mike and Cindy MacMillan Catherine Madsen, in memory of Thomas and Winifred Madsen Samia Madwar, in honour of Hazar Shawaf Jure Manfreda Evan and Dustin Maydaniuk Paul Mayer

Nicholas Wattson Gord and Laurie Webster Peggy Weller Judy Willson Peter and Mary Wilson Mark and Margie Zivin and three anonymous donors (1 ,3 ) $100–$249 Sylvia and John Aldrich Patricia Allen Mary Anglim Andrea Arnold ART+PUBLIC UnLtd asinnajaq Aspire Adventure Running Barbara Aylett Catherine Badke H. Mary Balint Elizabeth Ball Christie and Jurg Bieri Catherine Birt Molly Blyth Robbin Bond Hon Patricia Bovey Dorothy Caldwell and William Woods Jim and Mary F. Campbell Shelley Chochinov Grace Clark Cobalt Art Gallery Carol Cole Catherine Cole Charles and Arline Crockford Dr. Anne Croy Ruby Cruz Philip Davis Michael and Honor de Pencier Foundation Celia Denov Emmanuelle A. Desrochers Tracey Doherty Mathieu Doucette Judith Dowler F. Dumaine Melanie Egan Leslie E. Eisenberg F. Enright Lynne and John Eramo Yasemin Eroglu and Hakan Ersoy Andy Fallas Lynn Feasey David and Lauren Feiglin Donna Fremont Lisa Frenette

Roxanne McCaig Mary McLaren, in memory of Ian and Bernice McLaren Chris and Katie Medl Alessandra Montefiore David Muir Gary Nelson NunatuKavut full-member Suzanne O’Hara Rachel O’Neill Leon Oberlander Marina Oeler Bonnie Park Aarohi Patel PayPal Giving Fund Canada Kate Permut Felicity Pope Steve Potocny David Pride David and Robin Procida Maximilien Raab Mickey Ranalli Elizabeth Robinson Janet Robinson Greg Rogers and Blandina Makkik, in honour of Inuit artists and the magazine that educates us Sheila Romalis, in memory of Lorne Balshine Richard and Yvonne Rothenberg Michael Ryan Wally Sapach Genevieve Sartor Frances Scheidel, in memory of Thomas M. Scheidel Allan Seiersen David and Lesley Serkoak Divya Shah Paul J. Skahan Michelle E. Smith Joyce and Fred Sparling Harriet Stairs P. Stevens Jennifer Stoots P. Colleen Suche Mark Swartz, in honour of Dr. and Mrs. MJ Swartz and Family Jacek Szulc Charles Tator William Taylor Diana Trafford Helen Tremblay Anne Vagi Louise and James Vesper Jon and Diane Vickery

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THANK YOU

Robert and Brenda Watson Lowell Waxman Claude M. Weil, in honour of Jim Shirley Elka Weinstein Karen Westrell and Bill Rosser Scott White Amanda Whitney Judy Wolfe and eight anonymous donors (1 , 1 , 1 , 5 ) Up to $99 Lea Algar-Moscoe Annie Amaruq Eric Anderson Carolyn Barfoot Maddie Beaulieu Brian Belchamber Susan Bielawski Bill Bradley Cedric Brodin CanadaHelps Mark Cheetham Patricia Conway Michelle Coyne Anna De Aguayo Michael de Pencier Josephine De Vincenzo Cathy Degryse

Wilfrid Denis Paulette Dennis DK Huw Eirug Jan Fergus Chun Fong Dana Forsman Jessie Fortier-Ningiuruvik Joana Fraga Paula Frisch Glenn Gear Bill and Sarah Gibbons Susan Godin Claire Gold Philip Goldring Birgitte and Ronald Granofsky Ronald and Yvonne Grapentine Kathryn Hanna Mary Hanson Rosemary Hilton Albert and Femmeke Holthuis Karen and David Hood Cynthia Hosick Shari Huhndorf Aphantasia Indigo Magdalene Köppen Bristol Lakshas David Leonard Jacob Lewis, in gratitude to Dr. Martin Shaw

Fae Marie Anne Logie Matthew Lyons and Virginia Claire McGuire Kathy Mallett Geraldine and Peter Marshall Carola Marte Ron and Evelyn Matthews Caitlin McIntyre, in honour of Nelson Zabel Joyce and Mike Miller, dedicated to the City of Thunder Bay Sandra Miller Sanchez The Honourable Wilfred P. Moore Oliver Moorhouse Darren Mountain Scott Mullin Lucie Nadeau Nanooq Inuit Art Lou Nelson Sue Newman Peter Noteboom Laurie Petronis Matt Pierce Anne Pullon Marilyn Robinson Louise Rolingher Anita L. Romaniuk Gabriel Rosenberg Judith C. Saeger

N. Jerimiah Sappington Archatea Sarmiento DasGupta Peter Sarsfield Janet Savard Bruno Savoie Kathryn Scott Patricia Scott Paul Shackel and Barbara Little Anthony Stewart Superstar X Inc. Kevin Sylvester Karen Thorne-Stone Matt Traversy Laurie Tretina Glenn Tunnock Feliz Tupe Elizabeth Vadas Mary and George Varley Patrizia Villani Nancy Walkling, in memory of Frank Walklin Garnet Ward John Weber Christopher and Barbara Wood William Wood and six anonymous donors (6 )

You can make the difference There are more than 13,000 Inuit artists working in Canada today. Many face barriers to making and showcasing their work, but all deserve the same opportunities other artists have for their voices to be heard and their work to be seen. By giving to the IAF, you help artists working across Inuit Nunangat and beyond connect to opportunities, have platforms for their work to be seen and build their careers. Celebrate the art you love and make a difference by donating today. To learn more about how to support artists, please contact us at 647-498-7717 ext. 104, visit us online at inuitartfoundation.org/ways-to-give or simply scan the QR code to the left.

Inuit Art Quarterly

Winter 2024

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5 WORKS

Umingmak, the Bearded One by Tiffany Raddi ASSISTANT EDITOR

Umingmait, or muskoxen, are a beloved sight in the Inuvialuit Settlement Region. When Inuvialuit harvest them, their meat, bone marrow, fat and some organs are sources of food, their bones and horns are used for tools and artwork, and their qiviut and hides provide warmth. 2/

Mabel Nigiyok

Arctic Survival (1990) Mabel Nigiyok’s Arctic Survival sheds light on how beings persist in the Arctic. The blue shading of the Arctic Ocean and the brown shading of the nuna create a loose separation between aquatic and terrestrial beings, but the complexity of the relationship terrestrial beings have with water is represented by the overlapping nanuq,

who hunts upon and at times within the ocean. Each being is well insulated against the frigid, northern climes—whether by a layer of fat, a thick fur coat, travelling in a herd or a combination of the three. In this way, these animals—natchiit, singayuriat, uluagullit, qilalukkat, umingmait, nannut and tuktut—stay warm.

Stanley Ruben

Rose (c. 2018) Stanley Ruben’s Rose is a gracefully reconstructed umingmak horn. The black tip forms the rose stem and leaves while the wider, opaque horn is peeled back to form the sepals, which nestle the flower, and thin, translucent shards of the horn are shaped into petals. Ruben captures many of the characteristics roses possess—from the pointed tips of the petals to the corrugated edges of the sepals and the compactness of the leaves—but where the stems of living roses are narrow and barbed, this stem is wide, curving and smooth. This stem conveys an empowering relationship with the flower, not only supporting but uplifting it.

ABOVE (LEFT)

ABOVE (RIGHT)

Stanley Ruben — Rose c. 2018 Muskox horn and stone 19.1 × 10.2 × 8.9 cm

Mabel Nigiyok — Arctic Survival 1990 Printmaker Louie Nigiyok Lithograph and stencil 43.5 × 56 cm

COURTESY INUIT GALLERY OF VANCOUVER © THE ARTIST

Inuit Art Quarterly

COURTESY CANADIAN ARCTIC PRODUCERS © THE ARTIST

Winter 2024

5 WORKS

Elsie Klengenberg

Providing for the Family (1995)

The blue stream depicted in Elsie Klengenberg’s Providing for the Family symbolizes the commonalities between umingmait and Inuvialuit; vibrant against the muted land and sky, the water is life-sustaining for both of us.

We are both family-centric beings—attentive to and protective of our young—and also community-minded—living with and caring for others. But while umingmait graze, they are a source of sustenance for Inuvialuit. Here, the Inuvialuk

hunter may not have expected to hunt steps away from his tent; nevertheless he was prepared. Aiming his arrow at the umingmaak, he will soon be able to provide food, warmth and more for his family.

Derrald Taylor

Musk Ox with Calf (c. 1990) Derrald Taylor’s Musk Ox with Calf captures a sweet moment between mother and calf as they add their vocals to the arctic soundscape. The narrow ripples sculpted in the unpolished greyish-green steatite capture the swaying of their long, coarse overcoats in the wind, while the broad ripples of the polished steatite suggest the moulting of soft, warm qiviut—explaining their shaggy appearance. Taylor’s use of bone captures the texture, shape and size of the distinctive horn bases of umingmait, which are present in both cows and bulls. The hardness of stone and bone gives way to the gentleness expressed in this piece. Inuvialuit

ABOVE (TOP)

ABOVE (BOTTOM)

Elsie Klengenberg — Providing for the Family 1995 Printmakers Elsie Klengenberg and Helen Klengenberg Stencil 44 × 112 cm

Derrald Taylor — Musk Ox with Calf c. 1990 Steatite and bone 22.9 × 40.6 × 15.2 cm COURTESY QUINTANA GALLERIES PHOTO KEVIN MCCONNELL © THE ARTIST

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Erica Joan Donovan — Uma (Love) 2024 Muskox horn, delica beads and silver findings 12.7 cm

Erica Joan Donovan

Uma (Love) (2024) Erica Joan Donovan’s Uma (Love) earrings highlight the grain of umingmait horns, formed from layers of fibrous proteins around a hollow bone core. This cream and ivory marbling is difficult to see from afar, but the swirling texture calls to mind snow drifting across the ground and kiuryait, or northern lights, dancing across the sky. This element pairs well with the soft rose hues in Donovan’s bead palette. From blush to fuschia, these romantic colours accentuate the black-and-white geometrical patterns above and below the U-shaped horns, reminiscent of qupait, or fancy trimmings. Love is layered within this piece and positively radiates from it.

COURTESY SHE WAS A FREE SPIRT © THE ARTIST

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David Ruben Piqtoukun, Young Walrus, 2024.

 Spotlight on Inuvialuk artist DAVID RUBEN PIQTOUKUN

Inuit Art Quarterly

1356 Sherbrooke St. W. Montreal (QC) H3G 1J1 laguilde.com Follow us @LaGuildeMTL

Winter 2024

Michael Massie Spring 2025

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Inuvialuit

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CHOICE

Joe Nasogaluak Catch the Spirit

by Priscilla Boulay

Joe Nasogaluak — Catch the Spirit 1992 Bowhead whale skull 107 × 207 × 62 cm BALSHINE INUIT ART COLLECTION COURTESY VANCOUVER AIRPORT AUTHORITY PHOTO KENJI NAGAI © THE ARTIST

Inuit Art Quarterly

Winter 2024

CHOICE

The scenes within this work integrate many individual stories into a single piece, creating a multivocal story that captures the spirit of Inuvialuit.

Inuvialuit utilize each and every part of the animal that we harvest, including the materials we sculpt. The lifestyle we grew up witnessing, our experiences, the stories we want to tell and even the Oral Traditions shared by our grandparents all influence our work. Everything we sculpt begins as a blank slate. Although the material may provide a rough shape to begin with, it is only when we start sculpting that our imagination truly begins to flow. Joe Nasogaluak’s sculpture Catch the Spirit (1992) is an eye-catching work. Examining this sculpture can be tricky as it is a single colour; there is little contrast to highlight the different aspects. The first thing you might see are the two faces or, depending on the angle, might be the breasts of a lady. When you look closer, it tells a story, one that only a few can truly understand. This story is being told through the massive skull of a bowhead whale—a bone so large that it can encapsulate a vast array of elements from our culture and our region. The hair of a drummer and our sea goddess Sedna curve from either end to flow into the wings of eagles, whose heads are sculpted on the far side. Toward the centre, the scene includes a wolf catching a rabbit, a polar bear grasping a seal and a trout emerging from water. Each of their spirits rises from within the whale bone, and on both sides of the sculpture Nasogaluak has sculpted the faces of Elders with care and reverence. The scenes within this work integrate many individual stories into a single piece, creating a multivocal story that captures the spirit of Inuvialuit. Whale bone used to be plentiful in Tuktuuyaqtuuq, Inuvialuit Settlement Region, NT. It would wash up on the beaches, not far

Inuvialuit

from where my family would go hunting. Sculpting this part of bone isn’t easy; it throws up sharp dust that can pierce your clothes and scratch your skin. The bone is so porous that it takes a lot of patience to sculpt, so Nasogaluak would have been very careful with his tools in order to depict everything he wanted to express in this work. My late Daduck Bobby Taylor Pokiak (1927–2005) mainly sculpted with hand files and saws because power tools were not easy to come by. However, power tools allow us to cut finer details in the artwork with less time and effort. When I work with whale bone to create jewellery, I sculpt out the pores to use the solid parts because it is softer on the skin. Catch the Spirit was carefully thought out and executed, resulting in an artwork with a profound connection to our heritage. The patience, care and attention to detail that went into this piece are the same things I value in my own work, and it reminds me why I’m so connected to sculpting. We not only shape things, we bring our stories to life—stories that are a part of who we are as Inuvialuit. They come from our land, our experiences and the people we’ve grown up with. — Born and raised in Tuktuuyaqtuuq, Priscilla Boulay is the firstborn of Maryanne Taylor-Reid. Her talent was passed down from her late Daduck Bobby Taylor Pokiak to her mom, aunts, uncles and other relatives. Now living in Calgary, AB, she takes pieces of antlers, ivory and muskox horn left over from other sculpting projects to create beautiful jewellery.

Front

CHOICE

Drew Michael The Watcher (Raven Mask)

by Qamuuqin Maxwell

Inuit Art Quarterly

Winter 2024

CHOICE

I grew up waiting for the first frost to arrive, for this was when the Elders would begin to tell stories around the drum. These stories relayed life lessons and often gave an account of why something was the way it was. The Watcher (Raven Mask) (2022) by Yup’ik and Inupiaq artist Drew Michael reminds me of these stories. Growing up with an adopted Comanche grandmother, I heard stories about tricksters, one of which is Raven. Raven brings light to a world shrouded in darkness by carrying fire down from the sky in its beak. In this piece, Michael depicts both a human face and a raven face. He has placed one of the human eyes on the mask in the Raven’s beak, suggesting a transfer of vision or insight from the bird to the human and transforming Raven into a guide. This immediately draws me in and reminds me of my grandmother’s Comanche story, but in Michael’s art, Raven is bringing not fire to the world but sight. As I look closer, I see that Raven’s eye is in the middle of the forehead of the mask, the position some might call the “third eye” or “mind’s eye.” Here, Raven is a seer, illuminating the path forward beyond the ordinary and into the spiritual realm. The eye is made up of two tones, blue and white, which echo the blue and white splashed across the human face. The colours are balanced, a horizon line separating them just as a winter landscape would appear, marking the boundary between earth and sky, physical and spiritual, the known and the unknown. Here, Raven can see into the spiritual realm. The mask that Michael has so meticulously made keeps the viewer’s eyes and mind moving. Following its contrast. The balance of light and dark tones inhabits day and night light. One can imagine Raven flying

through the sky, the fire held in its beak burning its feathers to a deep, beautiful black. The textures worked into the wood depict feathers and anatomy but also echo textures in the land and windblown snow. If you look closely at one element and then zoom out to the full mask, the forms begin to blur and morph. The face is wearing a mask of Raven. No, that’s not it—Raven is holding the eye, and you can imagine it flying above a winter landscape. Or is Raven wearing the mask? This blurring of forms mirrors the way a mask blurs its wearer’s identity, allowing a viewer to inhabit a space between the physical mask and its wearer and the spiritual world the mask represents. When I reflect on The Watcher (Raven Mask), I am reminded of the stories of my youth, of the lessons and insights shared around the drum circle. Michael has created a piece that captures the essence of those stories, blending tradition with innovation to create a work that is both timeless and contemporary. The Watcher (Raven Mask) invites viewers to look beyond the surface, to explore the deeper connections between the physical and the spiritual and to find their own place in the ever-unfolding story of the world. — Qamuuqin Maxwell is an Iñupiat artist, photographer and lifelong learner currently living on the unceded ancestral homelands of the Ramaytush Ohlone peoples. He holds a BA in Art History with a minor in Photography, along with an MFA in Visual Studies and an MA in Critical Studies. In his professional life, he is the Coordinator of Bicycle Education at the San Francisco Bicycle Coalition.

Drew Michael — The Watcher (Raven Mask) 2022 Basswood, oak wood, furniture racks, buoy rubber, feathers and acrylic Approximately 88.9 × 68.6 × 12.7 cm © THE ARTIST

Inuvialuit

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ARTISTS’ CORNER

Kajungiqsaut Grants Helping Inuit artists pursue their expansive ambitions Offering artists room to breathe, time to think and the materials and tools to experiment is crucial to the development of their artistic practice. The Inuit Art Foundation is proud to support Inuit creatives to do their best work through the Kajungiqsaut granting program, which was co-developed by the Inuit Art Foundation and the Canada Council for the Arts. Created to offer accessible, culturally relevant funding in all artistic disciplines, particularly to first-time applicants, the Kajungiqsaut grants program provides funding in amounts that

range from $500 to $15,000 across three granting streams— Sutaarutit, Iniqarvik and Turaagaq. The funding helps artists develop and scale new and larger works, undergo training and mentorship, market and present their work and much more. Inuit applied in record numbers to the last granting cycle, and thanks to the Canada Council for the Arts and our generous donors, we were able to award more than $425,000 to artists across the entire Kajungiqsaut program. We thank everyone who makes this and other opportunities for Inuit artists possible.

ABOVE & OPPOSITE

Lindsay McIntyre’s Tuktuit (2024), during and after installation at the Rovaniemi Art Museum in Finland © THE ARTIST

Inuit Art Quarterly

Winter 2024

ARTISTS’ CORNER

Recent grant recipients have used their funding to create apps, set up specialized workstations and revitalize traditional techniques. Multidisciplinary artist Lindsay McIntyre wanted to learn how to skin a caribou and to harvest, process and use the gifts that the animal provides.

With the support from Turaagaq, I have been able to advance an important experimental documentary created with handmade and manufactured emulsions that looks at the close and enduring connections between Inuit, caribou, lichen and land use. I was able to work with my mentor, Doug Smarch Jr., and Inuit mentors and learn how to harvest caribou and work with hide from a customary Indigenous perspective. Learning how to harvest tuktu and process it into tools, different kinds of hides, food and gelatin has been one of the hardest things I have ever undertaken. I spent an embarrassing number of hours processing my first caribou hide into rawhide, which is then made into gelatin for a handmade emulsion. I learned so much about caribou and lichen and how much I love working with hides. The result, Tuktuit (2024), exists as a 16mm film and an installation that connects material processes, labour, lichen, caribou, Inuit knowledge, climate change and film. It was exhibited at the Rovaniemi Art Museum in Finland in 2024 and will be at the Contemporary Art Gallery in Vancouver, BC, in 2025. I will be continuing this work through a series of projects in 2025 and 2026, and as a result of the support from the Turaagaq grant, I will incorporate caribou into a number of other projects and mediums.” Lindsay McIntyre 2023 TURAAGAQ GRANT RECIPIENT

The IAF strongly enourages artists at any stage of their careers to apply! Learn more at Inuitartfoundation.org/ kajungiqsaut

Inuvialuit

Front

— by Kale Sheppard

— translated by Helen Kitekudlak

— by Gayle Uyagaqi Kabloona

— Unipkaana Kale Sheppard

— Muniktitaa Helen Kitekudlak

In the corners of the globe where the seasons transform the landscape, winter stands out in my mind for being the most devoid of colour. Yet colour holds a unique significance to those who have lived on the frozen expanses of the tundra, including Inuvialuit artists Logan Ruben, Floyd Kuptana (1964–2021) and Brian Kowikchuk. Some artists in the Inuvialuit Settlement Region (ISR) tend to work in muted pastels and earth tones, reflecting the cold season; however, these three artists stand out in particular for their vibrant and heavily saturated colour selections. Together, they highlight the unique ways artists in the region are using accentuated colour to express the stories inspired by their homeland and culture that they want to share.

ABOVE

Logan Ruben — Untitled 2019 Oil 91.4 × 60.9 cm

Logan Ruben — In The Kootnays 2023 Acrylic 121.9 × 60.9 cm

After moving away from his hometown of Paulatuuq, Inuvialuit Settlement Region, NT, Inuvialuk painter and sculptor Logan Ruben says he finds the motivation to create by recalling his fond memories of the place he once called home and has found new inspiration from his current residence in Cranbrook, BC. “I think the natural progression of colour coordination with a mixture of contrasting and complementary colours has a lot of roots set into my experience in the North witnessing the seasons change and the colours following suit—alongside the vast swaths of frozen tundra,” 1 he says. “A lot of what I can remember are the really vivid colours throughout the seasons, especially during the late summer and early fall months.” Throughout the summer, the vegetation blooms and the land undergoes a dramatic shift. There is no shortage of inspiration among the bright blooms of small, hearty wildflowers, berries, sprawling mosses and grass in this season of new life. It is no wonder then, that the majority of Ruben’s subject matter depicts nature. One of his recent pieces, a portrait of a mother goose on the land with two goslings in the hood of her caribou-skin atigi, is framed by vibrant green grass and a multicoloured cloud-filled sky. During the winter, when the sometimes dull scenery extends through long, snow-covered months, Ruben draws inspiration from the colours found indoors, in the homes of loved ones. From textiles to product packaging, Ruben is enamoured by it all. Outside, brightly painted buildings in their varying shades of reds, blues and yellows are scattered across the landscape, offering a striking juxtaposition to the snowy world around them. Another source of inspiration. When Ruben paints, he spends a long time refining his work—often storing his pieces in his studio and returning to them later to breathe new life and perspectives into them, a process not commonly seen in other artists’ practices. “I’ll spend some time either sitting with the painting or having it sit somewhere in the back while I’m working on something else—[if] some sort of inspiration hits, I’ll kind of move back to a painting and add a little more or change a little detail here or there,” he says. This process can be seen in a piece that was previously titled Untitled (Mountain landscape) in 2019. He mentions that after picking away at it and letting colours mix and change, the once vivid, surrealistic landscape with distinct blues and pinks with yellow

OPPOSITE

Logan Ruben — Untitled (Mountain landscape) 2019 Acrylic 121.9 × 60.9 cm © THE ARTIST

Inuit Art Quarterly

Winter 2024

Nunaqyuapta kiklinani hila aallanguliraanan nunakpun nauvaktuq, ukiumi takunnaqtuq ihumamni qakukpiaqtuq. Kihimi ivitaat piuqpiaqtut inuuvaktunut ukiuktaqtumi napaaqtuilrumi, Taimaa ittuq Inuvialuitni piliunguayuktuq Logan Rubenlu, Floyd Kuptanalu, (1964–2021) taamnalu Brian Kowikchuk. Ilangit piungualiuyuktut Inuvialuit nunananni (ISR) havautigivaktait ivitaqaqluangittunik minuutinnik taimaalu nunap ivitaaninik, takummatainnik qayungnautaata nunaptingni; kihimi hapkuat pingahut pingualiuqpaktut takunnaqtuq ingutaaqtukhatut ittunik, aallaqangittuniklu ivitaanik. Atauttitut takunnaqaqtut inmikkut idjualiknik taimaatun pingualiuqtit pivaktut nunamingni atuqpaktut niplingniaqtutut itunik ivitaanik takupkarumapkugit unipkaatik ihumagiyamingnik nunamingniklu pitquhimingniklu tautupkarumaplugit.

HIVULLIQ PITINNAGU

AKIANANI

QULAANI

Logan Ruben — Atiqangittuq 2019 Oil 91.4 × 60.9 cm

Logan Ruben — Atiqangittuq (Pingukyuaqaqtuq nuna) 2019 Paniqtaaqtunut Minguliqhimayuq 121.9 × 60.9 cm

Logan Ruben — Kootenaymiittuni 2023 Paniqtaaqtunut Minguliqhimayuq 121.9 × 60.9 cm

Inuvialuit

Aimavingminit Paulatuumit ahinun nuunnami, Inuvialuit nunaannin NTmin, Inuvialuk una minuutinun havakpaktuq, hanauyaqpaktuqlu Logan Ruben uqaqtuq hunaliungnahualiraanami ihumagivlugit itqaumayaminnik aimavigaluangmini itqaumayaminnik pivaktuq taimaalu nutaami nayuliqtaminni Cranbrookm BCmi tautuktuuyaqtaminnik. Ihumayunga imaa “hivumuudjutiga ivittaliungnikkun avuhimaplugu aallatqiinik takunnaqpiaqtunik ivitaanik inuuhimni ittunik inuuvaktamnik Ukiuktaqtumi takumaplugit hilap aallangutait ivitaatlu aallangutata maliktait—haniraani ittut qiqumayum nunaanni, Amihut qauyimayatka ivitaaqaqluangittut hilap aallangutaani, tahamnalluammi auyailiraanat ukiahaliraanat tatqiqhiutainni.” 1 Auyaraanat nauttiat nauvaktut nuna aallangukpiaqpaktuq. Piqaqpiaqpaktuq hunaliurumayamik qaummaqtutut ilivakman mikigaluaqhutik piuqpiaqpaktut nauttiatlu, kablatlu, uryuqarniillu iviqangniillu taffumani aallangutaani nutaat nauganata. Taimaatut ittuq Ruben havakpaktait nunaptalu hilaptalu pitquhianik takummatilgit. Atauhiq mingulihaaqtaa, aadjiliuqtaa kanguq nunamiittuq malruklu piraak nahaani ittuk tuktup amianik atigaani, piqaqhunilu hungayaaqtunik ivikniklu, ivittaaqaqtuniklu amihunik nuvuyanik qilakni minguliqhimayuq. Ukiumi, ivittaaqaqluangitkaanan ukiumi tatqiqhiutini, Ruben nanihivaktuq havaktakhaminik ivitaalingnik iglut iluinni, aimaviinni piqpagiyamini. Taimaa havauttigiyaminut, puuqtuutiminut havaktaminik, Ruben piqpagiyait tamaita. Hilami qaumayut mingulikhimayut igluqpait aallatqiinik aupayaaqtut, tunguyaaqtut, quqyiqtallu hiamihimayut nunami, takummatilgit haniliriit aputiqangningmi nunamingni nayuqtamingni. Aallalu piliuqtiarivaktaa. Ruben minguliraanami, havakhaaqpaqtuq takummataatigut nakuuhinahuaqhugu—tutquqhimagaalugit havakvikmini utiqvigiblugit qakugunguraanat nuttanguktinnahuaqhugit inuuhingmin takummataitigut piblugit, havangnia tahamna takunnayuittuq aallani minguliqpaktuni’ Ilaani ikhivaplunga tautukpaktara hivituyumun taimaaluunniin iliplugu ahiqpanun aallamik havaktillunga—(piqaruma) hunamik ihumamni ilayumayamnik tikitkanat utiffaaqpaktara ilaplugu taimaaluunniin aallanguvyakhugu ilangani,” uqaqtuq. Taimailiuqhimayaa takunnaqtuq mingulliqhimayamini atiqaqtuq atiqangittuq (Pingukyuaqaqtuq nuna) talvani 2019mi. Uqaqhimayuqlu taimaa havakpakhugu aallanguqtiqhugu ivittangit akiukhugit, takummatiqaluangittugaluaq nunaqangniatigut tungayaaqtuniklu aupayangattuniklu hungayaaqtuniklu ilagamigit, takunalluangittullu idjuhiit takunnaqaliqtut pingahunik ukpingnik ivitaaqattiaqtumi amihunik. Uumani ublumimun atiqaqtuq Kootenaysmi (2023), Ruben atuqpaktuq tamangnik ivittaqaqyuaqtuniklu ivittaaqapqaqtuniklu aturumayaminik, takunnaqpaktunik aadjikkutainik hilaptingni, imaa takunnaqaqtuq tarautait hunavaluit hiqinnaaqpiaraanat tahapkunangaluunniin angutinin ilangutivaktunin nayuqtamingni. Ruben havauhia minguliqtaminun hiamitpalliayuq ukiutqiraanan talvanga takummatiatigut kanikhillangnuangitumit kangikhimangniqnun, tadja kihimik huli inminun itquumayumik pittiaqpaktuq avuplugit havautini ilittangnaqtunik inmi havaanit, aallat havakpaktainnit, taimaalu ivittaat atuqtani aallatqiingukhutik. Tadjattauq, Ruben hanauyaqpalingmiyuq. Hanavalingmiyuq avvariiktunik uyaranguktaaqtunik uhuqaqtunik uyaraliuqtaminik taimaalu aturumavaktuq ivittaanittunik takummatilingnik, qulliqangningmi idjuhiit takuttiangnaqtunik avatingitnik—hapkunuuna, havakpaktuq takunnaaqattiaqhimayunik taraitigutlu inimingni ivitaaqangniinni minguliqtamini.

In Vivid Colour

highlights and undefined translucent figures became a highly textured portrait of three owls dappled in a kaleidoscopic variety of colours. In this updated painting, now titled In The Kootenays (2023), Ruben employs the use of both high and low contrast with his colour selection, which mimics the true values often seen in nature, like the harsh shadows cast by a full sun or animals that effectively blend into their surroundings. Ruben’s style has broadened over the years, ranging from abstract to stylized impressionism, yet he remains true to his unique charm of blending techniques that make his works easily identifiable, even across mediums, although his use of colour varies. More recently, Ruben has started working in sculpture. He has created many plaster-cast sculptures out of oil-based clay and prefers to leave these achromatic, letting the light catch on their forms—with these, he’s working with highlights and shadows in place of the spectrum of colour used on his canvases. Where Ruben could be considered a painter-turned-sculptor, another Inuvialuk artist—conversely sculptor-turned-painter— the late Floyd Kuptana, also from Paulatuuq, has become known for his visually striking paintings in addition to his familiar sculpture work. Kuptana started painting almost two decades into his already established sculpting career. His paintings differ from the multicoloured buzz and realism of Ruben’s paintings but still maintain some of the same cultural themes, like hunting and nature. Kuptana’s eye-catching works feature a restrained but bold colour selection, often optimizing the use of high-contrast primary or secondary colours in sectioned blocks. The limited, vivid colour selection is striking, resulting in an impactful graphic effect. The subjects of his work, many of the same shape-shifting figures of dancing wolves and mischievous spirits that he depicted in stone, stand out against the usually solid colour backgrounds. His painting style embodies a similar sense of whimsy that’s found in his sculptures. His use of vibrant colours on canvas brings his characters to life—colourized versions of their stone counterparts.

Inuit Art Quarterly

Painting from Inuvialuit stories and personal experiences with an emphasis on Inuit spirituality, Kuptana maintained a minimalistic style that means viewers can decide for themselves what the details of each story might be. His use of layering throughout many of his paintings provides a richness and depth that takes his works out of the two-dimensional realm and into the three-dimensional world, with tangible ridges and grooves, in a similar way to Ruben, who also uses layers of paint in his work. In most of Kuptana’s works, new values are created by the highlights and shadows that catch on the elevated brushstrokes. One of his many Wolf Rider paintings is a prime example of this, even utilizing glitter to accent the black paint. Another way Kuptana was able to add variety into his pieces without sacrificing his graphic style was by playing with varying levels of translucency—how thick or thin the paint is applied, creating new hues. In his painting Untitled (Night rider) (n.d.), a piece featuring only primary colours, the ground beneath the imaginative creature becomes a shade of grassy green by thinly applying yellow paint over the blue of the sky. Like many artists, Kuptana and his style developed and shifted as he experimented with new colours and techniques, which resulted in some distinct variations within his oeuvre. Kuptana has been known to use unconventional found materials, which may have influenced his colour choices, such as slatted composite-wood planks like in his piece Untitled (dancing bear) (n.d.), and collaborated on pre-existing found artwork like paintings and prints as seen in Untitled (Dual riders on beach) (n.d.). In this piece, a version of his recurring wolf rider figures are painted over an oil painting of a sailboat on the ocean. For works such as these, he chose a contrasting palette, making his additions stand out rather than blend into the original artwork. He was known, at times, to use pottery and glassware that accentuated the use of light and shadow on his playful colour selections. Although the subjects of his work were heavily influenced by his life in the ISR, his colour selection more closely reflected his life in Toronto, ON, where he began his painting career.

LEFT

OPPOSITE

Floyd Kuptana — Untitled (Night rider) n.d. Acrylic 50.8 × 50.8 cm

Floyd Kuptana — Untitled (Blue rider) n.d. Acrylic 30.5 × 35.6 cm

COURTESY WADDINGTON’S AUCTIONEERS AND APPRAISERS, TORONTO © THE ARTIST

Winter 2024

TALIKPIANI

Floyd Kuptana — Atiqangittuq (Unuami uhittiqtuq) n.d. Paniqtaaqtunut Minguliqhimayuq 50.8 × 50.8 cm ATUQTITAUYUT WADDINGTONKUNNIT AKITUTQIYANGMUN TUNNIYAUVAKTUNI TAAPKUALU QANUKTUT AKIQANGMANAAN ILITTURIPKAIYIIT, TORONTOMI © THE PINGUALIUQTIA

AKIANANI

Floyd Kuptana — Atiqangittua (Tungayaaqtuq uhittiqtuq) n.d. Paniqtaaqtunut Mingulikhimayuq 30.5 × 35.6 cm ATUQTITAUYUT WADDINGTONKUNNIT AKITUTQIYANGMUN TUNNIYAUVAKTUNI TAAPKUALU QANUKTUT AKIQANGMANAAN ILITTURIPKAIYIIT, TORONTOMI © THE PINGUALIUQTIA

Taimaa Ruben ihumagiyauvaktuq minguliqti hanauyaqtiunyuktuq, aallattauq Inuvialuk piliunguayuktuq—hanauyaqtiugaluaq mingulikhivalingmiyuq—taamna inuhimayuq Floyd Kuptana, Paulatuukmiutaqlu, ilihimaliqtauyuq takunnaangnaqtunik mingulikhimayunik ilagiblugit ilittangnaqtunik hanauyaamigut. Kuptana minguliqpaliqtuq inuk atauhiq naattillugu ukiut hanauyaqpaliqhimapluni inuuhingmini. Minguliktait aallangayut ivittaqaqyuangnirutaittigut taimaalu inuuyutut pivakyainnik Ruben minguliqpaktainnit kihimi aadjikkiikyaktut pitquhitigut anguniangnikkutlu hilaplu pitquhianik. Kuptanap takunnaangnaqtunik havaanit takunnaqaqtut piuqpiangittunik kihimik taaqtunik ivittaaqaqtunik atuqpaktuq, atulluaqpaktuq taaqtunik taalluangittunikluunniin ivittaanik ilanganni minguliqtamini. Aallatqiikyuangitkaluakhutik ivittaanit atuqpaktainni takunnaangnaqtut, tautuktumi havautaa mihingnaqtuq. Takunnaqpaktut havakpaktainni aadjikkiivyait, aallangukqattaqtut idjuhiit numiqtut amaqqut taimaalu pinniaqtaqtut agiuqtut takunnaqhivaktut hanauyainni takunnaangnaqtun ivitaaqangittuni tunuitta havaktainni. Minguliqtamini havauhia takunnaqtuq aadjikutavyainnik aliagiyauyunik takunnaqtullu hanauyainni. Ivitaaqaqyuaqtunik atuqtaminik minguliraanami minguliqtamini takunnaqtut uumayutut —ivittaaliktut uyaqqanik hanauyaraanami. Minguliqtauvaktunit Inuvialuit unipkaaninnit, inmingniklu inuhingmingni mihigivaktainnik hivumuutiqaqhutik Inuit takunnaitut ikayuqtigiliqpaktainni agiuqtullu mikhaagut, Kuptanap ilitangnaqyuangittut havaangit kangikhiqaqtut imaa tautuktut qanuq ihumagiyamingnik pingmanata ittut qanuqtullu unipkaaqangmanaata idjuhiittigut. Atuqpaktuq qaliriinik amihuni minguliqpaktamini takunnaqaqhutik ihumaliurutigiyakhauyut inuum inmigut havaananit talvanga malruk avatiqaqtunit talvungalu pingahuni inuuhipta takummataani nunaptingni, aktuqtaaqtunik qanuq hanahimayainni, aadjikutavyainni Ruben hanavaktainni, inmilu qaliriikhimayutun itpaktut minguliraanami

Inuvialuit

havaktamini. Ilanginni Kuptanap havaanginni, nutaanik ayuiqtaminik takunnahivaktut ivittainnikullu, tagainnilu inutaangninanin mingulliutaanin. Atauhiqmi amigaittunit Amaruq Uhittiqtuq minuliqhimayaa talvani takunnaqtuq. Atuqpaktuqlu qiblakaaktunik qingnariktuni mingulrutini. Allakkullu Kuptana ilaurivaktuq aallatkiiktittugit havaktamini ahikkuaqtailliblugu minguliqpaktamini piuyariblugit aallatqiinni takuttaaqtuni avataaniittut—qanuqtullu ivyuhia, haattunnuallu mingulrut ittukhaq, nutaanik pivaliqhuni ivitaaniklu. Mingulikhimayamini Attikhimaittuugaluaq (Unnuami uhittiqtuq) (n.d.), taamna minguliqhimayuq taaqtunut minguutinut, nuna ataaniittuq angutiliunguaqhimayuni takummatiqaliqtuq iviit hungayaaqtunik taimailittuq quqyiktangmik minguunmik qanagut tungayaaqtup qilaa mingukhugu. Piliunguaqtitut amihuni, Kuptana inmigun havakpaliqtaminnik aallangukpalliavaktuq uuktuqpakhuni nutaanik ivitaanik qanuqtullu havangniariaminik, taimaa takunnaqpaliktun inmi havautait aallatqiit havakpaktainni inuuhingmini. Kuptana ilihimayauyuq takunnaqattayuittunik hunavallungnik nanihivaktuq hanauyaqtakhaminik, imaa pingmat ivitaat atuqpaktani tahapkuat atuqpagait, pilliuqpagunaqhiyait, atuqpagait ilaani atuliqpaktuq pinnihaqhimayunik qiyungnik talvani takunnaqtuq havakhimayamini atiqhimaittuq (numiqtuq nanuq) (n.d.), taimaalu havaqataubluni hanarriikhimayunit nanihimayaminit minguliqhimayunitlu titirauyaqhimayunitlu talvani takunnaqtuq atiqangitumi (Malruk uhittiqtuk hinaani) (n.d.). Uvani havakhimayamini, takunnaqtuq aadjikutavyaa amaruq uhittiqtuq minguliqhimayuq qanagut uhuqaqtumik miguunmik minguliqhimayuq talvani takuyaqaqtumi qayangmi tariungmi. Havakkanami imaatun aalatqiiktittugit minguutit mingnuutiliuqvia takunnaangnahivaktuq havaaminun ilangitkaluakhugit. Ilihimayauyuqlu, ilaani atuqpaktuq ukviuyaliukhunilu, hikulianiklu qulliqangniqmi taraqangniqmilu quvianaqtunik ivitaanik atuqhuni takunnaangnaqtunik. Havakhimayainni qanuritkaluakhutik

In Vivid Colour

ABOVE

OPPOSITE

Brian Kowikchuk — Patience 2022 Acrylic

Brian Kowikchuk — Untitled 2021 Acrylic

In the North, flora or fauna, the life of the people and the sky itself—each boasts their own distinct colour palette. And while snow and ice may bring to mind visions of cool and muted tones, if you know where to look, colour can be found in many places. One such burst of colour is the kiuyait, or aurora borealis—they dance across northern skies, illuminating and painting the blank white canvas that is the snowy ground below with explosive shades of green accompanied by vibrant violet accents. Inuvialuk artist Brian Kowikchuk is no stranger to this breathtaking sight, having spent most of his life in Inuuvik, Inuvialuit Settlement Region, NT. Kowikchuk is best known for his bright acrylic paintings depicting traditional Inuit activities and daily life—activities such as hunting and fishing—with an emphasis on the natural world of animals and landscapes. The figures within these works share a similar sense of whimsy to Kuptana’s creations and have the same grounding in folklore and culture. Most often Kowikchuk’s subjects are backlit by an illuminating sun or moon, painted with a technique that is similar to Kuptana’s use of translucency. In his piece Patience (2022), Kowikchuk’s use of a variety of pinks—magenta, light and hot pink—is strongly complemented by the addition of black line work that makes the animals and human stand out. The hunter, polar bear, seal and beluga are painted with solid, flat colours, which contrast with his bold artistic brush strokes that make up the sea and sky, fusing techniques and styles in one piece. “It feels like candy to the mind when I see how they work and dance together,” 2 Kowikchuk says. He is able to marry painterly realism with stylized linear figures in a way that feels harmonious, a style he has used in many of his works. This is owed to his colour choices—by sticking with a single colour scheme, all of the elements feel as though they belong together, no matter the style. This is a similar but reversed approach to Ruben, who uses a full colour spectrum to tie everything together. In addition to painting on conventional canvas and leading community art sessions both in person and online, Kowikchuk has become known for his mural work, with several now under his belt. Working on such a large scale means that his pieces need to be eye-catching from a distance, which often means taking a high-contrast colour approach. His mural Ancestral Blessing (2022) and its smaller sister mural feature electric green northern lights highlighting the night sky. Central to each is a white luminous full moon, light radiating out with each broad stroke. Not straying far in his colour choices, the entire piece is painted in shades of green and teal. His figures are all clothed in traditional parkas coloured with the same palette as the sea and sky. His pieces tend to have unique and cohesive colour schemes where he plays with the saturation range of pinks, greens and blues—inspired by the nights in the ISR. “The blue land and the green skies I watched at night. [I] see the pink and purple are always highlights,” he says. His use of purple however, is an homage to his late grandmother Mable, whose favourite colour was purple. She raised him around vibrant colours, always sewing with colourful fabrics. For him, art is a form of therapy, and by teaching art classes, he hopes to build resilience in his community. Ruben, Kuptana and Kowikchuk have clearly taken deep inspiration from their home territory, the Inuvialuit Settlement Region, which is brimming with nuanced and brilliant colours for those who know where to look. These artists have harnessed that colour and are sharing that piece of home within their current communities and with the world. Their distinct perspectives are reflected in their artistic approaches to both subject matter and colour. — Kale Sheppard is a multidisciplinary visual artist based in Winnipeg, MB, with roots in Nunatsiavut. Using art as a means to connect to their culture while living in the South, their practice is constantly evolving and expanding into new media—acrylic paintings, murals and digital art being the most common.

NOTES 1

All quotes Logan Ruben, interview with Kale Sheppard, August 2024. All quotes Brian Kowikchuk, interview with Kale Sheppard, September 2024.

Inuit Art Quarterly

Winter 2024

takummatiqaqtut inuhiraluangmini ISRmi, ivitaaqaluaqtut aallatqiinik takummatiqaqtut inuulirami Toronto, ONmi, talvani minguliqpaliqvingmini. Ukiuktaqtumi, nauttiaqangniillu, angutiqangniillu, inuit inuuniaqviinni qilaklu taimaa—tamaita hapkuat inmikkut ivitaaqaqtut. Taimaa apullu hikulu ihumagiyaugaanata takunnaqtuuyaqpaktun niklaumanik ivitaaqangittuq, qinittiaruvit, ivitaalingnik nanihiniaqtutit inillaani. Atauhiq taamna ivittaaqaqyuaqtuq kiuyait/aqhalingia— numiqpaktun ukiuktaqtum qilanani, qaummaqtittugulu minguliqhugulu aktuqhimaittuq qakuktaq minguligakhaq tahamna aputiqaqtuq nuna ataani aallatqiitigut ivitaanit hungayaaqtunik ilaulugu tunguyaaqtunik. Inuvialuk pingualiuqpaktuq Brian Kowikchuk aallaungittuq hapkunani aniqtirinnaqtunik takummataitigut, Inuvikmi inuuhingmini inuuvaktuq, Inuvialuit nunaanni, NT. Kowikchuk ilihimayauyuq atuyuktuk qaumayunik paniqtaaqtunik mingulrutinik minguliraanami takummatiqaqtunik Inuit pitquhiinnik ubluq tamaan inuuhingmingni—hulilukaarutainni anguniangniaqtukkutlu iqalungniarutikkullu—tautungnaqtullu nunap pitquhia angutinilu nunaplu takummataani. Idjuhhit havaktamini aadjikutavyait alianaqtukkut Kuptanatut havaaninnit piqaqhutiklu tunnaviinni unipkaanikkullu pitquhiitigutlu. Amihuni Kowikchuk havaktait tunuqaqtut qaumaqatiqaqhutik hiqiniqmikluunniit tatqiqmikluunniit, minguliqhimayut aadjikutavyaanik Kuptanatut aturaanami avataani takunnaqtunik. Havakhimayaani Ilitquhingmi (2022), Kowikchuk atuqtuq aallatqiinik aupayangattunik—tungayanattunik, qaumayuniklu taaqtuniklu aupayangattunik—hakugiktut takunnaqtiaqhutik qingnariqtumik avataqaramik naunaikpiaqhugit angutillu inuillu. Tahapkuat angunniaqtuqlu, nanuqlu, nattiqlu, qilalugaqlu, minguliqhimayut taaqtunik, takunnaqtunik ivitaanik, aallatqiiktivaktut minguliraanamigit mingutini aktuuqattaqhugu tariungmiklu qilankmiklu minguliraanami, aallatqiit mingutaata ingutaarutaitigut. “Nungulaaqtuqtutut ilivaktuq ihumamni takugaanapkit qanuqtut havaqatigiikhutik numiqtutut ilivaktut attauttimi.” 2 Kowikchuk uqaqtuq, katitiqtaaqtait inuuyutut ittunik naunaitpiaqtullu idjuhiitigut atauttitut iliplugit, havaarivaktainni amihuni. Nanminiriyait atuqpaktamigut ivitaatigut—atauhiinnaqmik atuqhuni ivitaamik, tamaita idjuhiit mihingnaqtut attauttimiittukhauyutut ittut, qanuqtut minguliktauyukkut. Aadjikutavyaaraluanga kihimi kilumut piyutut ittuq Ruben havakpaktainnit, taimaatun havakkaanami ivitaat atauttitut ilivaktut.

Ilaplugu mingulliqpaktaminun atuqpaktainni hikyaani hivulliuqtaublunilu pinguarahuaqtuni inillaani tamainni atauttimiittutik havaqatinnilu taimaaluunniin qaritauyakkut, Kowikchuk ilihimayauliqtuq angiyunik havaktamigut, qaffinguktut havakhimayait ilihimayauliqtut. Havakpakkami angiyunik havaktait takunnaqtukhat ungahiktumin, taimaatun ivitaat atuqtani takunnaqtukhat. Angiyuq mingulikhimayaa Hivullipta Nakuungniq (2022) mikitqiyaqlu nayanuana takummatiqaqtuq aulatjutiqaqtutut hungayaaqtunik akhaligianik qaumayunik unnuami qilangmi. Qitqani ittuq tamainni qakuktaq tatqiq, qaumayuq ittuq taimaatun havagaanamigit ingutaaqtitaqhugu minguutini.Ungahikhiyuittuq atuqpaktaminin ivitanik, tamaat havaktaa taamna mingulikhimayuq aallatqiinik hungayaaqtunik hungyaaqtuplu tungayaaqtuplu akunnanni. Idjuhiuqpaktait tamaita annuraaqaqtut pitquhingmingni atigiliungnikkut ivitaaqaqhutik aadjikutainnik tariuplu qilauplu. Havakpaktait inmiguuqtut ivitaanitigut ulapqigiblugit aallaqangitut atuqpaktainni aupayangattut, hungayaaqtut, tungayaaqtullu atulluaqpagait—hivumuudjutigivlugu unnuanguraanat ISRmi. “Tungayaaqtut nunaqangniit taimaalu hungayaaqtunik qilangni tautukpaktatka unnuami. [Yunga] takuyatka aupayangattullu tungungayutlu takunnaqpiaqpaktut,” uqaqtuq. Kihimi atuqpaktait tungayangayut, ihumagiblugu anaanattiani Mable, nakuugingmagu tamna ivitaaq tungayangayuq. Inunguqtihimagamiuk takunnaqpiaqtuni ivitaalingni, mikhuyukkami ivitaaqaqyuaqtunik atuqhuni. Inminun pingualiungniq haimaqhijutaa, ayuihautigiblugulu aallanut, Nakuuqublugit makitqublugitlu inimini. Rubenlu, Kuptanalu, Kowikchuklu naunaittuq piqpagiyamingnin havaktut hivumuudjutikhamingnun aimavingmingnin, Inuvialuit nunaannin, piqaqtuungmat amihunik quvianaqtunik ivitaanik takunnaqtut inuk namun qinihiaraanat. Hapkuat pingualiuqtut tiguyait tahapkuat ivitaat taimaalu aallanun takupkakhugit ilannuanga aimaviinni inillaamingni hilaqyuamilu. Inmikkut takumayatik takunnaqtut pingualiurutainni idjuhiliuraanamiklu ivitaatigutlu atuqtamingnik. — Kale Sheppard amigaittunik ayuihimayuq takunnaqtunit pingualiuqhimayunit talvani Winnipeg, MBmi aimalluaqaqtuq Nunatsiavutmi. Atuqpaktuq pingualiutikkut aktuumapkarumaplugitlu pitquhitik inuuvalingmata pingaqnaptingni, uuktuqpaktatik hivumuuraaninnaqtuq angiklivalliabluni nutaanut takunnaqtuni—paniqtaaqtunik mingulingnikkut, angiyunik minguliqhutik, qaritauyakkullu pingualiuqhutik tahapkualluat atuqhugit.

QULAANI

AKIANI

Brian Kowikchuk — Ilitquhingmi 2022 Paniqtaaqtunut Minguliqhimayuq

Brian Kowikchuk — Atiqangittuq 2021 Paniqtaaqtunut Minguliqhimayuq

TUHAAYAKHAQ 1

Inuvialuit

Tamaita uqauhiit Logan Ruben, uqaqatigiblugu taffuma Kale Sheppard, August 2024mi Tamaita uqauhiit Brian Kowikchuk, uqaqatigiblugu taffuma Kale Sheppard, September 2024mi.

In Vivid Colour

ARTISTS WHO TR ANSCEND

Content notes: This article contains a word used historically to refer to First Nations people that may be considered derogatory today. It also contains discussions of residential schools. Support is available 24 hours a day for anyone affected by their experience at residential schools and for those who may be triggered by content dealing with residential schools. The national crisis line for residential school survivors is 1-866-925-4419. Survivors and their families can also contact the Hope for Wellness Help Line toll-free at 1-855-242-3310.

— Interview by Annie Wenstrup

C U LT U R A L BORDERS

Since time immemorial, Inuvialuit have held unique cultural relations with the Dene who border and live within the lands now known as the Inuvialuit Settlement Region, including the Sahtú, or North Slavey Dene, and Dinjii Zhuh, or Gwich’in. Today, many from the area find strength in their mixed heritages, incorporating both their distinct Inuvialuit and Dene cultures into their lives and work. In this interview, Annie Wenstrup talks to two artists—Leanne Goose, an Inuvialuk and Sahtú Dene singer-songwriter, and Taalrumiq/Christina King, an Inuvialuk and Gwich’in fashion designer and content creator—about how mixed heritage can uniquely inform artistic practice.

ABOVE (LEFT)

Taalrumiq, 2024 COURTESY THE ARTIST

ABOVE (RIGHT)

Leanne Goose, 2009 PHOTO PAT KANE

Inuit Art Quarterly

Winter 2024

ANNIE WENSTRUP: Leanne and Taalrumiq, could you share a little with me about your Inuvialuit, Gwich’in and Sahtú Dene cultures?

these stories resonate from the lens of the Western Arctic. We had to create space for ourselves, and that’s where my music and stories lie.

LEANNE GOOSE: My mom is Sahtú Dene from Tulita, NT, which used to be called Fort Norman. She met my father at Grollier Hall residential school; he was born in Ulukhaqtuuq, Inuvialuit Settlement Region, NT, and raised in Akłarvik, Inuvialuit Settlement Region, NT. That was often the way our people met after the sailing trips that came up north through the Arctic for whale hunting back in the late 1800s and early 1900s. The systemic issues that came from residential schools resonated throughout the time when Taalrumiq and I were growing up. We are the third generation impacted by the residual effects of residential schools and institutions of genocide, but out of it came these beautiful relationships between wonderful people who have these remarkable survival skills and made us resilient in adapting to change. I think that’s the power I see in Taalrumiq’s fashion and TikToks. She explains what each piece’s traditional purpose was and then how she adapts it to show a modern world of Inuvialuit high fashion. For me, my songs and stories are about home. They’re about individual people who’ve touched my life. I wanted to share a little piece of who we are. To have

TAALRUMIQ: Leanne, I agree wholeheartedly with everything you said about creating space for ourselves. That’s what inspired me to create educational videos for social media. I was not seeing accurate or authentic representation of Inuvialuit [and Gwich’in] and thought of my children and the youth in my community—what would it be like for them to open TikTok and see someone wearing a sunburst fur, walrus tusks or our other traditional clothing? They could say, “That looks like me.” That’s empowering to have that representation. We didn’t have a lot of that growing up. Generations have been impacted by rapid colonization, great cultural loss and change, loss of language. I can’t speak Inuvialuktun fluently; English is my first language. Through my work, I’m researching and reclaiming aspects of my culture and identity. I’m both Inuvialuit and Gwich’in, my mom is [an] Inuvialuk. She was born and raised in Tuktuuyaqtuuq, Inuvialuit Settlement Region, NT, born to Alice Agnaksaq (Cockney) Gruben and Eddie Qagisaaluk Gruben. My dad is Peter Louie.

ABOVE

Taalrumiq — 3D-printed ilgaak (snow goggles) 2024 Plastic filament, gold deerskin and shotgun rivets © THE ARTIST

RIGHT

Leanne Goose performing at the Aboriginal Day Live & Celebration Solstice concerts, 2015 COURTESY THE ARTIST PHOTO NADYA KWANDIBENS

Inuvialuit

Artists Who Transcend Cultural Borders

He’s Gwich’in, born in Akłarvik and raised in Inuuvik, Inuvialuit Settlement Region, NT. My parents also met in residential school. Historically, there was a lot of trade [between Inuvialuit and Gwich’in]. Inuvialuit used to go to the Fort McPherson area and trade maktak; some of the earliest photographs show Inuvialuit dancing during these trips. We grew up hearing stories of how Inuvialuit and Gwich’in battled over Imyaruk Husky Lakes, an area that has great fishing resources. For me, growing up mainly in an Inuvialuit community with my mom’s family and community, there was a lot of residual discord. We were called names like “little Indians” and were treated a little differently because we were mixed. I never understood this until I was older, because Mom was just Mom. Dad was just Dad. I didn’t know there was a difference between Inuvialuit and Gwich’in. Now that I’m older, I see that it’s a strength. I was interacting with a prominent Gwich’in artist and he told me, “No, you got to start saying you’re Gwich’in too. We all know you are. Just claim it and be proud of it.” That gave me permission to be proud—to be Gwich’in too—even though I wasn’t raised in that culture. Speaking of fashion, some of the cultural overlap includes our Inuvialuit kaukkak or embroidered gowaks—Gwich’in call them jijuu shoes. We influenced each other’s fashion through trade and living so close as neighbours and friends. AW: Something that strikes me is how both of you spoke about the need to create a space for your work. Not only a physical space but a kind of art form large enough to contain your identities. LG: Growing up in the place that we did, in the time that we did, we were lucky that we grew up with our Elders. We grew up finding ways to blend modern life with our cultures, through subsistence living, harvesting, fishing, trapping, whaling and being able to participate with our family. Those stories are the pieces that I carry forward with me in this environment. Growing up we didn’t have the Internet, we didn’t have cell phones. We had different types of mannerisms and politeness. Our doors were never locked, and you walked from house to house and you shook hands, you had tea, you helped out if you needed to. And those are the things that I like to remember and keep with me as we transition now. I was fortunate that the Internet was brand new and there wasn’t a lot of content coming out of our area. Then, starting in the ’90s, there was the work of the Inuvialuit Communications Society (ICS) and Native Communications Society, CKLB radio. I found this space of people on the Internet who were looking for unique global music, and that was how I carved out space to share my music. I wanted to share our songs, share our stories in my own way, through my own lens. And I thought, well, you know what, if I’m already pointed out as different, I might as well own it, rock it. Do it and see what happens.

ABOVE

Taalrumiq’s Barbie-inspired atikluk (2023), thigh-high kaukkak (2023) and snow goggle fascinator (2024), modelled at Indigenous Fashion Arts Festival in Toronto, ON, June 2024 PHOTO CORA KAVYAKTOK © THE ARTIST

Inuit Art Quarterly

Winter 2024

ABOVE (TOP)

ABOVE (BOTTOM)

Leanne Goose (right) with her father Louie Goose (left), 1976

From left: Chris Storr, Kenny Sittichinli, John Goose and Leanne Goose at a whale camp, near Shingle Point, YT, c. 1977

COURTESY THE ARTIST

Inuvialuit

Artists Who Transcend Cultural Borders

AW: Taalrumiq, you have social media skits where you imagine your jijuu, who was Gwich’in, and anaanak, who was Inuvialuit, responding to your garments. Would you tell me a little about them? T: They both passed away when I was very young, so I didn’t get one-on-one teachings directly from them. Anaanak, my maternal grandmother, passed [away] when I was seven or eight and my jijuu, my paternal grandmother, when I was a baby. But I heard stories of them, like [that] my anaanak was an expert seamstress working with furs, teaching local women her craft; she could do it all. My jijuu was known for her beadwork and she supported her family by selling it. They both raised large families and transitioned from life on the land and the trap line to contemporary lifestyles. I know that I come from two creative families and I have those same skills. My grandmother characters are also based on the Elders I remember from my youth and my followers who have messaged me saying, “Keep it up. You’re doing great.” It makes me think that my grandmothers might have been proud of the work [and] to see it shared online. I really credit my grandmothers, from whom I inherited my skill, my talent, my passion. I credit my mom too, for teaching me the basics. AW: Leanne, in your song “War Cry,” you juxtapose the title with beautiful opening lines about celestial love and witnessing beauty in the natural and human world. Could you speak to that? T: My daughter and I listened to that song together! She heard it and asked me, “Mom, who’s this singer?” I told her, that’s Leanne. You know, she’s Inuvialuit and Dene, like us. And she said, “Really! I want to be a singer too, just like her.” LG: Thank you, Taalrumiq, for sharing how that song struck your daughter. The song was written for children. I was on tour in Inuuvik and noticed that things were different. There were few young people walking around. I also noticed hard drugs were entering our communities. There were few families who were still going out on the land. The water levels were becoming low. The climate was very hot. We do have a temperate climate in the Western Arctic, but this was different. Even the stars looked different. A lot of Elders were passing, and I felt this need to write this song about things that I’ll cherish, about growing up on the land, growing up with traditional Knowledge Keepers, and for the love that they gave me by filling me. I wanted to have a song that talked about the beauty of lying in the snow at night, looking at the stars, at the northern lights. Watching them come down, smelling the sulphur in the air, watching them dance. Then we’d get brave and get up and make a loud noise and chase them back up and do it all over again. I always think that I was fortunate to grow up in a time when we still had very strong traditional Knowledge Keepers who shared. Today we see a resurgence in people who are choosing to go

ABOVE

Stills from Leanne Goose’s music video for “War Cry” (2022) © THE ARTIST

Inuit Art Quarterly

Winter 2024

back to land, to learn our traditional practices. Inuvialuit are so strong in revitalizing our capacity and our ability to go back to the land. AW: Taalrumiq, on social media you recently shared images of 3D-printed snow goggles. Could you share your thoughts on taking traditional items and recontextualizing them with contemporary materials? T: I might not have the traditional skills or materials to create snow goggles out of caribou bone, antler or baleen, but I can create them using 3D technology! It was a lot of fun. It’s a physical representation of the joy I feel in recreating and experimenting with our traditional designs and our cultural objects. AW: Your Coastal Dream: Loveletter to Tuktuuyaqtuuq (2020) atikluk (parka) is deeply connected to your hometown. Could you tell me more about it? T: Homesickness, missing my family, love for my community and the land—those were my inspirations to create the garment. I wanted to capture some of that beauty and make it wearable. I don’t think there’s anything that can completely replicate what’s in nature, but I try through fashion design using the materials I have available. I love my home community. The beauty of the landscape resonates so deeply with Inuvialuit— the [big] pingos, or pinguqsaaryuit, as we call them, along with the beautiful sunsets on the Arctic Ocean. These are images that stay in my mind and in my heart, no matter where I am in the world. Going back home and seeing those distinctive landmarks, smelling the ocean and witnessing the majesty of our homeland, there’s nothing like it anywhere else on this earth. That’s our ancestral home, and I’m deeply rooted to that area.

Annie Wenstrup is a Dena’ina poet and writer who lives in Fairbanks, Alaska. She is the author of The Museum of Unnatural Histories (2025). Her family is from Yaghanen (Kenai), Alaska, and Stillwater, Oklahoma. Leanne Goose is an Inuvialuk and Sahtú Dene singer-songwriter, musician, producer, storyteller, arts manager and communicator from Inuuvik, Inuvialuit Settlement Region, NT. She is a dedicated advocate for artists and organizations and has served for ten years as the first female Indigenous President for the Northern Arts and Cultural Centre and was the former President and Director at Music NWT.

ABOVE (TOP)

Taalrumiq (centre) at age five with siblings Peter (left) and Elizabeth (right), 1983 COURTESY THE ARTIST

Taalrumiq is an Inuvialuk and Gwich’in fashion designer, content creator and cultural educator. Creating original fine art, Inuvialuit couture and compelling educational and humorous digital content, she inspires others to reclaim and celebrate Indigenous identity while encouraging the healing of intergenerational trauma.

Inuvialuit

ABOVE (BOTTOM)

Taalrumiq’s Coastal Dream: Loveletter to Tuktuuyaqtuuq (2020) atikluk (parka) and Arctic Ocean Waters (2021) three-tiered earrings modelled at Vancouver Indigenous Fashion Week, BC, November 2023 COURTESY VANCOUVER INDIGENOUS FASHION WEEK © THE ARTIST

Artists Who Transcend Cultural Borders

D e h ru

a t s e O B

— by Dennis Allen

Content notes: This article contains a brief mention of residential schools. The national crisis line for residential school survivors is 1-866-925-4419. This article also contains a word used historically to refer to Inuit that may be considered derogatory today.

Remembering the time that drum dance in the Inuvialuit Settlement Region almost went extinct and the group of determined Elders who brought it back.

Akłarvik drum dancer Alex Gordon dancing COURTESY INUVIALUIT DIGITAL LIBRARY

LEFT

Abraham Anghik Ruben — Shaman Beckoning Sedna 1989 Brazilian steatite and antler 111 × 61 × 46 cm COURTESY KIPLING GALLERY © THE ARTIST

OPPOSITE

The Inuvik drummers and dancers group wearing traditional clothing. Front row (left to right): Tara Cardinal (Day), Carla Smith, Annie Aleekuk and Cathy Cockney. Back row (left to right): Abel Tingmiak, Billy Day and Wilbert Papik COURTESY INUVIALUIT DIGITAL LIBRARY

Inuit Art Quarterly

Winter 2024

As Inuvialuit, we traditionally passed down our stories through song and dance. People would gather during the dark period of winter, when the sun would not shine for weeks on end, to celebrate their survival through yet another perilous year. It was a time of joy and revelry: the best food was saved for these occasions and old friendships would flare up with laughter and drum dancing. The men would take turns singing songs of their escapades experienced throughout the year with much enjoyment from the community of families. Someone would sing about their frightful encounter with a polar bear and act out the scenes on the dance floor. The shaman would do his dance to summon the caribou spirits for another good year of hunting, while women would dress their families with their best caribou-skin clothing and do their own dances. Living through another treacherous winter was not guaranteed and the drum dance celebration was their reward for making it through. With the arrival of the qallunaat, Inuvialuit began their slow assimilation into the new world. Hunting practices changed with the arrival of guns. Cloth replaced the arduous task of tanning caribou skins for parkas. Children were sent off to residential schools to learn English and parents were left with a huge spiritual void. Over time, the art of drum dancing and telling stories began to fade from existence. Christianity began to take over and drum dancing was relegated to very few special occasions. In 1952, then Governor General the Right Honourable Vincent Massey PC, CH,

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CC, made a special trip to Akłarvik, Inuvialuit Settlement Region, NT, and my dad’s maternal grandfather, Harry Inukiktluk, can be seen drumming in a photo from that special visit. But by the time I was born in 1961 in Inuuvik, Inuvialuit Settlement Region, NT, drum dancing had become virtually non-existent. People had moved into settlements and the fiddle, which had been introduced by the Scottish Hudson’s Bay Company traders, had replaced the drum dance as the main source of entertainment. But a savvy young Inuvialuk named Billy Day saw the writing on the wall. The unique style of Inuvialuit drum dancing was on the precipice. Something had to be done. In the early 1970s Billy started talking to the Elders and warning them that if they did not revive drum dancing now, they would take it to their graves and a large chunk of culture would die with them. They got into action immediately. Elders like Kenneth and Rosie Peeloolook, Tommy and Sarah Kalinek, Almira Soupay, Ida Aleekuk, my aunt Emma Dick and my nanuk, or grandmother, Sarah Tingmiak took to the dance floor once more and the Mackenzie Delta Drummers and Dancers group was born. Although they were called the Mackenzie Delta Drummers and Dancers, not all the participants were originally from the Delta area. Some of the drummers I remember were those that immigrated to Canada in the 1940s with several other Iñupiat families from Alaska, notably Alex Gordon and his wife, Hope,

The Drum Beats On

as well as Amos Paul and Hope’s brother Daniel (Kapok) Shingatook. It had been a bad year for game in Alaska and they heard the Mackenzie Delta was full of game, fur and fish. The Alaskans were good drum dancers, especially Hope and Alex. Alex had a loon-beak headpiece that he would use when he was drum dancing, a piece of regalia reserved for the most revered of drum dancers. Alex moved with the beat of the drum, and it was mesmerizing to see him dance. He would imitate the loon by bobbing his head around and doing their mating dance. Amos Paul also had a loon headpiece. He was small but he could squat low and shuffle across the floor like an animal stalking its prey. Daniel Shingatook was also a small man, and usually quiet, but when he heard the drum, it would bring him back to his childhood in Alaska and he would get up on the dance floor and dance with a big smile on his face. I like to think that when he danced, he imagined scenes from his past that only he could see. From Tuktuuyaqtuuq, Inuvialuit Settlement Region, NT, there was Old Raddi Kuiksak, “Big Joe” Nasogaluak, Bertram Kimiskana and his brother Ralph. They were Sallirmiut Inuit from the Beaufort Coast and their songs were different, more staccato. Ralph would accentuate the beat by stomping his feet and making small jerking motions with his upper body, like a ptarmigan feeding in a patch of willow. Watching the older couples that danced together, especially Kenneth and Rosie and Tommy and Sarah, was an absolute joy. Tommy was more of a drummer while Sarah loved to dance. Her big smile invited you into her world as she waved her arms to and fro to the beat of the drum and the drone of the singers. Though

some of the songs dealt with the harsher realities of Inuvialuit life—like the trekking song, which imitated the arduous task of trekking umiat along the rocky coast—Sarah danced it so eloquently that her smile belied the difficulty. The women had a different style of drum dancing than the men. They would wave both arms back and forth in a rocking motion while the men danced out front, acting out the song. I used to like watching Kathleen Hansen dance, because she could move like a man and sometimes would do the motion dances that were mostly done by the men. But there were also cooperation dances where the men and women would dance together. Kathleen and Alex were famous for their wood-cutting song, where they acted out the chore of cutting wood. They even threw in a little Red River Jig to pay tribute to the fiddle, which had become part of their culture too. The costumes they all wore formed an essential part of the performance as well. The drummers and dancers used traditional drum dance outfits, which are more like decorated parkas. The women designed the parkas with sunburst hoods that look like a corona of fur around the head by sewing strips of wolverine and wolf fur together. It is a labour-intensive task but the result is stunning. Then they decorated their parkas with strips of wolverine as fringe, which flowed with the movement of their arms. Their mukluks had stroud flower designs called gowaks. Billy Day used to bring the group down south to perform, like in Montreal, QC. He said the dancers were fascinated by Montreal because most of them had never been out of the North—most if not all of them were born in the early part of the nineteenth

ABOVE

The Inuvik drummers and dancers group performing at the Canadian Museum of Civilization (now the Canadian Museum of History), Gatineau, QC, 1991. From left to right: Annie Aleekuk, Debbie Gordon-Ruben, Louisa Alunik and Shawna Rogers. Drummers sitting (left to right): Abel Tingmiak, Billy Day and Wilbert Papik COURTESY INUVIALUIT DIGITAL LIBRARY

Inuit Art Quarterly

Winter 2024

century and could remember seeing their first White man or their first time using a rifle! Another time, Billy brought most of the original dance group to Mexico —you can imagine how hot they were in their parkas and gowaks! Billy introduced the world to the art of Inuvialuit drum dancing. The dancers came back home and began to give performances in their own communities. After years of laying dormant in the minds and souls of the Elders, the art of drum dancing began to make a revival. The colonial attitudes which tried to suffocate Inuvialuit culture failed. The new revival instilled a sense of pride into the Inuvialuit and drum dance groups began to sprout in the communities. As the years went on, some of the Elders passed away and were replaced by new Elders, like George and Martha Harry of Inuuvik. Although the dancers changed, there continues to be strong familial links to drum dancing, since multiple generations of one family often all take part over time. The Gordons, for example, have always been a part of the drum dance community and are probably the most prolific family of drum dancers. Alex and Hope’s son Danny was an expert drum dancer and moved like his dad when he danced. He was animated and always had a big smile. He liked to fool around and make people laugh when dancing. His brothers were drum dancers too: Colin and Andrew. They were just as good as Danny but not as popular—Danny was older and tradition stated the eldest was next in line as master dancer. Andrew was more my age and he used to make us kids laugh when we were his only audience, imitating his dad and making loud sounds like animals. Alex and Hope’s granddaughter Georgieanne also followed in their footsteps and learned to drum dance from an early age. Drum dancing is strong in my family too. My sister Shirley made sure her daughter Melissa, or Mullook, as we call her, became a drum dancer. Ever since she was a little girl, Melissa would go to dance practice and soon became part of the drum

Inuvialuit

ABOVE (LEFT)

Almira Soupay, a Mackenzie dancer, performing at the Eskimo Olympics (now the World Eskimo-Indian Olympics) in Fairbanks, Alaska, in 1971 COURTESY INUVIALUIT DIGITAL LIBRARY

ABOVE (RIGHT)

Victor Ekootak — Dancing Girl Wearing a Bonnet Trimmed with a Loon’s Beak and a Weasel’s Skin (Nivingajuliat) n.d. Silkscreen on burlap 66 × 29.8 cm COURTESY WADDINGTON’S AUCITONEERS AND APPRAISERS, TORONTO © THE ARTIST

The Drum Beats On

ABOVE

Drum dance in Akłarvik in 1950. Harry Inukiktluk, the author’s grandfather, is pictured in the blue parka fifth from the left © NWT ARCHIVES/MCCALL FAMILY / N-2002-022: 0046

LEFT

Three Elders dancing. From left to right: Mabel Stefansson, Alice Simon and Ida Aleekuk COURTESY INUVIALUIT DIGITAL LIBRARY

OPPOSITE

Mary Okheena — They Sang Grampa’s Song and I Danced 1998 Stencil 50.8 × 65.4 cm COURTESY WAG-QAUMAJUQ PHOTO LIANED MARCOLETA © THE ARTIST

Inuit Art Quarterly

Winter 2024

dance group. My dad’s cousin Abel Tingmiak, my god-brother Hans Lennie and his family, my dad’s first cousins William and Kevin Allen, and my cousin Debbie Gordon-Ruben are all also involved, alongside the late Scott Kasook and Brian “Nungkii” Rogers. These were the second generation of Mackenzie Delta Drummers and Dancers, who performed at all the special events around our region. As the years went on and the revival continued with communities beginning their own drum dance troupes, the Mackenzie Delta Drummers and Dancers morphed into the Inuvik Drummers and Dancers. Now almost every community in the Inuvialuit Settlement Region has its own drum dance group. Although many dancers still make their own outfits in the traditional way, some groups are opting for less elaborate and more uniform outfits, perhaps due to the availability of skins and the loss of knowledge. However, almost all of the participants are the descendents of the original Mackenzie Delta Drummers and Dancers. “These are songs that were passed down to us from our ancestors,” my cousin Kevin Allen, a member of the current generation of Inuvik Drummers and Dancers, told me in a recent conversation. He draws a line from that history to the health of the community today, continuing “The drum beat emulates the heart beat.” When I moved back home in 1996, the Inuvik Drummers and Dancers talked me into joining the group. I was always self-conscious about drum dancing, but they got me over it pretty quick. While I’m a musician by nature and love any kind of music, I would get too excited and start drumming too fast and they would

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have to slow me down. I didn’t know the songs either so I would just try to follow their words. When I got a job in Yellowknife, NT, I had to pull up stakes again, but I’ll always be grateful for having the opportunity to drum dance with them. I still partially remember one of my great-grandfather’s songs about stalking a caribou and how he crouched low to keep hidden from sight. Although many of us who live in the Inuvialuit Settlement Region are children of intermarriages, primarily between Inuvialuit and the neighbouring Gwich’in, Inuvialuit drum dancing gives us a sense of identity and pride. Inuvialuit still gather during the time of darkness to dance. When the sun goes down, people put their worries aside and gather to celebrate yet another year. If you ever get a chance to see Inuvialuit drum dancing live, it is really a treat. You get caught up in the beat and find yourself tapping your toes and moving along with the dancers. My great-grandfather’s song still echoes down through the generations. His great-great-greatgreat-granddaughter, my grandniece Leslie, sings and moves to his song like the day he made it up. Her daughter Rennley is starting to go to drum dance practice and is catching on quickly. I hope to see you on the dance floor sometime. — Dennis Allen is an award-winning multidisciplinary artist and educator from Inuuvik whose work translates seamlessly between film, music, writing and storytelling. A regular contributor to What’s Up Yukon magazine and a self-described “born storyteller,” Allen won the 2017 Sally Manning Award and multiple months of the Edmonton Story Slam in 2023.

The Drum Beats On

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Artist of the month Jimmy Uqqituq Photo: Aqqalu Augustussen, Katuaq

Wholesaling Inuit art since 1967

Lucassie Echalook

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“This woman caught a fish, a very big fish, and is happy as she will bring it to her family.”

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Inuit Art Quarterly

Winter 2024

“Resilience” 2024 Manasie Akpaliapik (1955 -) Ikpiarjuk, Nunavut & Ontario Weathered bowhead whale skull,African wonderstone, black stone,Alabaster, Caribou antler, Abalone 74.0” x 59.0” x 26.0”

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Mother Preparing Fish, 1978 by Aisa Qupirualu Alasua (1916–2003)

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CURATORIAL NOTES

Common Thread: Female Perspectives from the Arctic IAIA Museum of Contemporary Native Arts CURATED BY SONYA KELLIHER-COMBS AUGUST 16, 2024–JANUARY 5, 2025 SANTA FE, NEW MEXICO

Against the backdrop of the Santa Fe Indian Market—one of the largest and most prestigious Indigenous art fairs—Common Thread: Female Perspectives from the Arctic opened at the Institute of American Indian Arts (IAIA) Museum of Contemporary Native Arts (MoCNA) in parallel with Arctic Highways: Unbounded Indigenous People, marking a milestone for circumpolar art representation at Indian Market. Common Thread brings together 12 Indigenous artists from across northern Alaska, Canada, Kalaallit Nunaat (Greenland) and Sápmi, creating a space for northern Indigenous perspectives. Curated by Iñupiaq and Athabascan artist Sonya Kelliher-Combs, the works explore land-based activism, place and community connections and the poetic reclamation of languages and practices. Here, Kelliher-Combs discusses the exhibition’s inspiration, process and significance.

Inuit Art Quarterly

ABOVE

Installation view of Common Thread: Female Perspectives from the Arctic, 2024 ALL COURTESY IAIA MUSEUM OF CONTEMPORARY NATIVE ARTS PHOTO SALLIE WESAW SLOAN ALL © THE ARTISTS

OPPOSITE (LEFT)

Melissa Shaginoff — Moose Hide Love Poems 2024 Moose hide, birch beam, blue tarp, beads, dentalia and video projection Dimensions variable

OPPOSITE (CENTRE)

Jenny Irene Miller — My Grammy’s Dialect 2019–2020 Steatite 7.6 × 5.1 × 1.3 cm PHOTO SALLIE WESAW SLOAN

OPPOSITE (RIGHT)

Julie Edel Hardenberg — Empowerment 2024 Garments Dimensions variable PHOTO SONYA KELLIHER-COMBS

PHOTO SALLIE WESAW SLOAN

Winter 2024

CURATORIAL NOTES

What inspired the exhibition title? Common Thread reflects the idea that, as Indigenous Peoples, we are more similar than different; we are all connected. It highlights how we often work beyond our own individual art to create community, opportunities, and share ideas and works, despite our diverse practices and locations. This kind of work grounds me and fuels my practice. How did the idea for Common Thread emerge? As an artist participating in both Arctic Highways and Common Thread, I saw how each showcases connections beyond physical boundaries. I proposed Common Thread in 2021, during COVID, while staying virtually connected with family and friends across the North. It is a continuation of projects I’ve curated, including Stitching Beads - Arctic Stories Change Hands (2018) and Without Boundaries: Visual Conversations (2018), which centred Indigenous voices and cultural exchange across borders. Having attended Indian Market for many years, noting only a handful of artists from the North inspired me to present an exhibition at MoCNA that showcases the diversity and collective strength of our work. How did you select the artists for this exhibition? I know each artist personally, having worked with them in various capacities. I deeply respect their practices and dedication to community and place. They all work to actively foster dialogue and Indigenous perspectives from the North. How are women’s perspectives represented in the exhibition? Each artwork centres on the artist’s homeland, often using materials and techniques steeped in historically “feminine” practices, including tattooing and sewing. It’s very exciting to see our youth really pushing the envelope with regard to customary practices. I am honoured to show this work and call attention to these

often marginalized art forms. How do the artists in Common Thread engage in decolonizing practices? They employ timeless materials and techniques—linking us to the land, our ancestors and communities—to create new and challenging works addressing issues close to our hearts. These artists are not merely producing art but are activists engaging in social change. Holly Nordlum’s video and mural project NUCH’ISHTUNT (Point Woronzof)/Wind Protected (2023), in collaboration with Melissa Shaginoff and Dimi Macheras, for example, documents Indigenous youth reclaiming Anchorage’s iconic water tower and the area’s original place name to bring awareness to urban Indigenous erasure. What impact do you hope this exhibition will have on visitors? The gallery creates intimate spaces for viewers to immerse themselves in the work. There is an opportunity to reflect and discover within each piece and for each piece to be in dialogue with one another. What has been the most personally fulfilling aspect of curating this exhibition? It was so satisfying to see all the work hung together and heartwarming to have six of the twelve artists in attendance at the opening. Another rewarding part of the exhibition was sharing these artists’ work with a new audience during Santa Fe’s peak season. How do you see Common Thread influencing future circumpolar and global Indigenous art initiatives? My hope is that it creates awareness of the pressing issues our peoples face. My desire is that artists remain connected in elevating and celebrating other Indigenous artists, because our work belongs not only in Indian markets but in the mainstream art world. By creating spaces for Indigenous artists to exhibit work and foster dialogue, we’ll change the narrative of art history; we will have a voice.

Jenny Irene Miller My Grammy’s Dialect (2019–2020)

Melissa Shaginoff Moose Hide Love Poem (2024) “Moose Hide Love Poem (2024) speaks to the reciprocal relationship between the hide worker and the moose, honouring the generations who have cared for this beautiful process. It represents Shaginoff’s personal journey to understand this ancestral practice. The video performance captures the relationship with hide tanning, switching perspectives between moose and tanner. The moose in the poem speaks to the hide tanner of the pride and love they feel for her as she works. The hide tanner shares her struggles, realizations and love for the moose as she moves through the process. Moose Hide Love Poem is a performance of love. Love for the hide tanner, for the moose and for oneself.” Inuvialuit

“Inupiaq non-binary artist Jenny Irene Miller reflects on their relationship with the females in their family. Aaka’s note detail from 1989 (2022), a text installation, honours their great-grandmother’s memory, while My Grammy’s Dialect (2019–2020) speaks to the difficult subject of forced assimilation through language. Miller’s late grandmother had her mouth washed out with soap for speaking her language, as many of our people have. Miller’s simple and elegant ivory soap carving of a tongue, hung at a child’s height, speaks volumes.”

Julie Edel Hardenberg Empowerment (2024) “Empowerment (2024) explores colonialism’s impact on place and bodies, acknowledging we’re all shaped by history. The two parts of this figurative sculpture, precariously placed in relationship to each other, appear connected but not physically; despite its fractured composition, somehow it makes sense, they are whole.”

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PROFILE

Uumati Kisoun-Inuarak

by Janice Grey

Uumati Kisoun-Inuarak manipulates materials seemingly by intuition; call it ethereal. Contemporary in essence, their art radiates a youthful energy but is still tied fast to ancient motifs, executed through diverse mediums. Notably, their untitled installation for a 2024 Contemporary Native Art Biennale (BACA) exhibition in Saint-Hyacinthe, QC, is composed of many individual works inspired by, in the artist’s own words, “the night sky, our relations to space, how we’re said to come from the stars and my own personal sense of how magic, spirituality and blood ties are interconnected.”1

Inuit Art Quarterly

The installation’s eclectic collection of beautiful objects—including a deer skull, Iñupiat mask, qisiq pouch and more—is tied together by a long strip of black-and-white trim reminiscent of the triangular geometry of the Delta Braid, which speaks to the Western Arctic side of Kisoun-Inuarak’s heritage. It weaves its way throughout the installation, becoming two-dimensional as it flows into the acrylic painting ᐃᓄᐊ (Inua) (2022). In ᐃᓄᐊ (Inua), a femme-presenting figure in Inuit clothing stands stoic in the swirling blue and white of a roiling ocean. Her right hand is raised in a classical gesture, 52

the very image of tranquillity in chaos, and a snowy owl is perched on her shoulder. Kisoun-Inuarak’s family’s original surname was Ookpik, so owls are often featured in their work. Kisoun-Inuarak is a talented painter who began practicing seriously as an adolescent. Compelled and inspired by their heritage, they tell me, “As an Indigenous person, I carry my history in my being everywhere—beauty or pain . . . my memories and unique heritage intersect to give me my identity and sense of self.” Using paint, they depict rivers and the sea, drawing on their Winter 2024

PROFILE

ancestral ties to the living waters that flow in the North, including those past Old Crow, YT, and Inuuvik, Inuvialuit Settlement Region, NT. In Heart Light (2022), bright sunshine is rendered so true it radiates off the page and melds naturally into the careful blue of the watercolour sky. Rays of light cascade across an anatomically inspired outline of a heart holding blues; pastel shades swirl moodily in the clouds and gradually change to navy in the depths of the water, an element dear to Kisoun-Inuarak’s heart. Kisoun-Inuarak and I recently met at the Avataq Cultural Institute’s museology department in Montreal, QC, to tour the collection with Inuk curator Isabelle Uyaralaaq Avingaq Choquette. 2 The three of us shared in the calming presence of art that transcends colonial lines and ties us together as kin. In that sacred space, I observed Kisoun-Inuarak as they took a moment to soak it all in. They stood amongst prints, garments, artifacts and other artworks, palms facing upward with one hand rested atop the other. With the same ethereal fluidity embodied in their very presence, Kisoun-Inuarak’s art intersects past and future at the junction of their identity. They told me, “Seeing these works and sharing our history created this connection that helps me remember I’m never alone. It makes me hopeful for life, and I understand that making art is a part of something bigger than just myself.” — Janice Grey is an Afro-Inuk writer and editor from Aupaluk, Nunavik, QC. She recently published her first book of short stories, Cautionary Tales (2024), and spends her working hours on Tumivut magazine. She lives in Montreal, QC.

OPPOSITE

Installation view of Uumati Kisoun-Inuarak’s works ᐃᓄᐊ (Inua) (2022) (left), an Untitled (2024) installation (middle) and Owl study (2024) (right) at the 2024 Contemporary Native Art Biennale, EXPRESSION, Centre d’exposition de Saint-Hyacinthe, QC

This Profile was made possible through support from RBC Emerging Artists.

ABOVE

Uumati Kisoun-Inuarak — Heart Light 2022 Watercolour, gouache and pencil 30.5 × 22.9 cm NOTES LEFT 1

Growing Pains 2023 Marker, coloured pencil, ink and paint pen 30.5 × 22.9 cm

All quotes Uumati Kisoun-Inuarak, interview with Janice Grey, August 2024. Isabelle Uyaralaaq Avingaq Choquette is also a member of the Inuit Art Foundation Board of Directors.

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LAST LOOK

Kristian Binder Untitled

Nipiȓuq. Nipiȓuq refers to “sunset” in the Uummarmiutun dialect of Inuvialuktun. I keep a tab open to the Uummarmiutun dictionary on my desktop for moments like this as a reminder to awaken our words and keep them alive on our tongues, in our throats and in the breath of who we are. This utilizes one of our Inuvialuit values: curiosity. For this moment, where I see a glorious celebration of light captured over the Inuvik Tuktoyaktuk Highway by Kristian Binder in 2022, I am inspired to look up the word for “sunset” and contemplate. The Inuvialuit Final Agreement established our sovereign right to cultural identity, to be equal and meaningful participants in society and to protect and preserve the lands as our own. Forty years later, this photograph by Binder brings that historic event into a space of reflection and hope. The lavender purple, hot pink, neon orange and dandelion yellow of the sky evokes the colours I recognize on the edges of parkas, which are made with bias tape and geometrically formed by skilled aunties to create the distinctive Delta Braid. The angle of this photograph highlights the many basins of water scattered across the land, likely revealing vast hordes of unrelenting mosquitoes, while the Arctic Ocean is but a thin line of blue, a saving grace with its high winds and salty air providing reprieve from the swarming bugs. And there, like a thick pen stroke drawn through the middle of the image, built up along the edges of muskeg and permafrost winds, exists the first all-weather road in the country that reaches the Arctic

Ocean, connecting the coast of Tuktuuyaktuuq, Inuvialuit Settlement Region, NT, to the mainland of Inuuvik, Inuvialuit Settlement Region, NT. An engineering feat that continues to symbolize Arctic sovereignty by creating year-round accessibility for families, friends and workers to visit, travel and purchase the amenities they need without further isolation, as previously experienced during in-between seasons when the former ice road was unavailable and boating was precarious. An engineering feat that utilized another one of our values: resourcefulness, or more specifically puqikhuq, which refers to “intelligence.” I believe using our Inuvialuktun dialects awakens the minds and spirits of our children through song, story and imagery. We can look out further onto that ocean horizon and feel hope. Hope that through language reclamation, arts, climate action and the rebuilding of communities and families we will continue to thrive for another 40 years and 40 years after that. A hope that who we are as Inuvialuit will continue to be an integral contributor to the circumpolar landscape in a positive way. That we will persist in being advocates for the health of the land and water. As we adapt to new ways of being, so do our traditions and values, guiding us here now and into the future. I hope our ancestors see us thrive from that great northern sky for many generations to come. RENELTTA ARLUK

Guest Editor

Inuit Art Quarterly

Winter 2024

Discover the artistry of Inuit stories at WAG-Qaumajuq, and join our community of supporters in keeping this vital platform alive for future generations. Goota Ashoona. Tuniigusiia/The Gift, 2020. Verde Guatemala marble. Collection of the Winnipeg Art Gallery. Commissioned by The Manitoba Teachers’ Society on behalf of Manitoba’s public school teachers. photo: Lisa Stinner-Kun

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Rachel Martin

A North American Art Collection amplifying diverse voices and creating conversations. Image Credit: Rachel Martin (Tlingít), Fishwife, Graphite and coloured pencil on paper, framed, 2022, 50 × 40 × 1.5 inches. Learn more at td.com/art.

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Inuit Art Quarterly

Winter 2024