In Transition
1/ Peter Morgan The Legend Of The Woman Who Became A Narwhal (1976)
Images of transformation often appear in Inuit art, inspired by the multitude of stories that feature transfigurations between living things. These stories speak to the interconnectivity between Inuit and the natural world, and teach valuable lessons through the art of storytelling.
In this print, Peter Morgan (1951–2018) succinctly tells the story of a woman who, in order to escape an abusive husband who treats her like a sled dog, jumps into the icy ocean. Morgan is able to capture the exact moment of transformation, showing her sealskin amauti turning into the speckled skin of a narwhal as she breaches the surface of the water.
The text tells us what happens next: “The husband, fearful of losing her, ran after her calling, ‘I love you and cannot lose you. Come back.’” Her only answer was, “You whipped me.” Water, the life-giving element, serves as a medium for metamorphosis both physically and spiritually in this simple, yet impactful image.
LEANNE INUARAK-DALL Contributing Editor
2/ Helen Kalvak, CM, RCA Sorcerer (1966)
Born in Kitlineq (Victoria Island), Inuvialuit Settlement Region, NT, the life and career of Helen Kalvak, CM, RCA (1901–1984) was one of duality and transformation. Though she converted to Christianity later in life, traditional teachings and influences are apparent in a great deal of Kalvak’s work, as exemplified in the stonecut relief print Sorcerer. The mammalian figure of the polar bear on the left and the sorcerer in human form on the right are in the process of transformation from human to bear, or bear to human. The shapeshifting sorcerer is rendered plainly in a rich red ochre that shows an uncanny symmetry between the two figures.
The strong, bold lines and monochrome colour are indicative of the style Kalvak and others pioneered through their work at the Ulukhaktok Arts Centre (formerly the Holman Eskimo Co-operative) in the 1960s and ’70s and their utilization of stonecut relief printing. This technique was both adaptive and practical and was widely used until the introduction of lithography in the late 1970s and stencil in the 1980s. Kalvak utilized all three techniques across her practice, indicative of the transformative nature of her abilities as an ar tist.
JON LOCK YER Ar tist Services Manager
3/ Marion Tuu’luq Untitled (c. 1978)
When I hear the word transformation I think of fantastical, half-human half-animal figures, but I don’t often think of the transformation of the materials as opposed to the subjects. In this piece by textile ar tist Marion Tuu’luq (1910–2002), we see both. In an ar ticle published in the Spring 1989 issue of the
IAQ, “Baker Lake Wall-Hangings: Starting From Scraps,” author Maria Muehlen speaks of Tuu’luq’s process of selecting left over scraps of material to transform them into vibrant wall hangings. I am struck by how similar this process is to carving. The shape of the material inspires what the final image will be and the stor y is discovered along the way while being woven into every stitch. I would suggest that this ritual of keen obser vation, recognition and revelation is integral to Inuit ar t itself. The concept of allowing the material to guide the artwork is masterfully executed in the creation and placement of the whimsical figures throughout Tuu’luq’s wall hanging.
HEATHER CAMPBELL
Strategic Initiatives Director
4/ Billy Gauthier Shaman Transformation (2006)
A shaman’s transformation is a metaphysical one, bridging our reality with the spiritual. The respect and depth of coexistence between Inuit, nature and wildlife is made visual in the carving Shaman Transformation by celebrated ar tist Billy Gauthier. In alabaster and serpentinite, a shaman takes the first step out of his worldly kamiik. His snowy owl talons take hold of a wave of limestone, signif ying the transition from humanity to a realm of spiritual flight. With a finger on the beating pulse of nature, walls lif t and barriers evaporate. With this sculpture, Gauthier expertly orchestrates his materials into a symphony of mystique. I cannot help but be struck by a sense of wonder while viewing this work.
BRONSON JACQUE Contributing Editor
5/ Saimaiyu Akesuk Untitled (2013)
Craning their necks skyward and apart, this drawing of a two-headed, symmetrical avian creature marked ar tist Saimaiyu Akesuk’s introduction to the broader Inuit ar t world in 2013 when it graced the cover of the Cape
Dorset Annual Print Collection catalogue that same year. At 27, it was Akesuk’s first foray into professional ar tmaking—an endeavour that has seen her work exhibited and collected by major institutions, both at home and abroad, in the years since.
In this early drawing, Akesuk’s distinct colour palettes and signature compositional approach—the ar tist regularly explores mirrored or symmetrical central figures—are on full display. The work’s juicy orange and electric green, captured here in coloured pencil, were later embellished with patterned linework in the final print by printer Qiatsuq Niviaqsi, adding yet another layer of tex ture and movement to this dynamic scene. A fitting debut from Akesuk—and a taste of so much more to come.
BRITT GALLPEN Editorial Director