From the Editors
This issue of the Inuit Art Quarterly is dedicated primarily to those darker tales from the Inuit narrative lexicon, stories of
Kappianaqtut (Those to Be Feared) that reveal the contours of moral, social and familial values. Setting the scene for this issue is a beautifully menacing image by graphic artist Tim Pitsiulak (1967–2016).
Qalupalik Maqgoo (2012) captures a pivotal, heart-racing moment of dread, as the wriggling appendages of an unknown creature slowly reach up to grasp a child’s submerged, sneaker-clad feet. Enveloping them both, the deep, cold darkness of the Arctic
Ocean stretches beyond. The sea-dwelling qalupalik, one of several beings explored in this issue, are said to live under the ice, waiting to carry away children who play too close to the floe edge. Bringing together these and other spirits, our Portfolio “Creature Feature” presents a selection of artworks from the Inuvialuit Settlement Region to Nunatsiavut.
Perhaps the most iconic and farreaching character of all, Kiviuq and his legendary epic are explored in a feature on Victoria Mamnguqsualuk (1930–2016) by Chris Hampton. “The Nomadic and the Monstrous” explores the enduring themes of Kiviuq’s story—movement and migration, bravery and danger, family, community and perseverance—through Mamnguqsualuk’s evocative drawings, prints and textile works, created over more than six decades. Complementing Kiviuq’s epochal narrative, our Feature section is rounded out by three short contemporary fiction pieces, published here for the first time. Authored by Heather Campbell, Jamesie Fournier and Taqralik Partridge, IAQ’s inaugural
Editor-at-Large, each recounts a haunting tale framed with original illustrations by Megan Kyak-Monteith, Jason Sikoak and Zebede Evaluardjuk-Fournier.
Finally, our Profile and Legacy sections consider two artists, working across vastly different media, both with a keen storytelling sensibility. Ottawa-based photographer Katherine Takpannie, whose captivating images conceal as much as they reveal, is spotlighted as an ar tist to watch, while the singular prints of Tivi Etok’s solo print release Whispering in My Ears and Mingling with My Dreams (1975) are given a fresh look. Despite what might seem at first an unlikely pairing, the abilities of both artists to unravel a story and evoke emotion make them a natural fit for an issue rooted in the power of narrative, whether visual, oral or textual.
Lastly, we would like to take this opportunity to welcome two new additions to the IAQ editorial team, Napatsi Folger and Emily Henderson who join us as Contributing Editors. We look forward to working with them over the coming months to introduce you to even more artists working across the North and beyond.
“On behalf of the whole IAQ team, I would like to share our enthusiasm and extend our heartfelt welcome to Taqralik. For the first time, a core editorial position of IAQ will be held by an Inuk and we are honoured our inaugural Editor-at-Large is Taqralik.” – Britt Gallpen, Editorial Director