Inuit Art Quarterly

From the Editor


Three years ago, in the spring of 2016, the Inuit Art Quarterly launched its Climate issue—one we hoped would serve

“to amplify a vital voice, that of artists, in [the] pressing global conversati­on” on place, climate and ecology. Since that time, the voices of artists have only become louder, the stakes higher and the urgency greater for those whose homelands would be irrevocabl­y changed by a warming world.

This issue of the IAQ on Earth considers the environmen­t in an expanded scope— thinking beyond the cyclical nature of ice and snow to time as it is captured in stone, metal and clay, to geologic time.

Our Features for this issue explore the materials the land provides, both on as well as under the ear th’s surface. Clay, stone, bone, wood and metal are harnessed by artists from across the circumpola­r world to give form to new creative visions. In “The Speed of Imaginatio­n” artist Shary Boyle recounts the incredible legacy and expansive future of ceramics in Kangiqlini­q (Rankin Inlet), NU. Reflecting on her collaborat­ive and generative relationsh­ips with some of the Matchbox Gallery’s most celebrated makers including Pierre Aupilardju­k, John Kurok and Leo Napayok, Boyle—a self-described ‘super fan’—shares what she finds so valuable about these innovative works in clay.

The artists featured in our Portfolio,

“What Nuna Provides: 10 Contempora­ry Carvers,” are based across the Canadian Arctic and for each the materials they use, or combine as the case may be, inform fundamenta­lly personal aesthetic decisions. All, however, share the ability to “bring life to stone in unique detail,” wresting discrete worlds and narratives from often unrelentin­g materials. Some will be familiar to our readers while others are included in our pages for the first time.

Our Inter view brings together two jewellers, one establishe­d, the other earlycaree­r, to discuss how rapidly the landscape for Inuit-made fine jewellery has shifted. The result has been an explosion of talent that has found its catalyst in Mathew

Nuqingaq’s Aayuraa Studio in Iqaluit, NU, and beyond. Finally, our Legacy by Elaine Anselmi looks to the Nunavut Land Claims Agreement’s commitment that every Inuk has the right to quarry stone for carving. More than 25 years on, however, the truthfulne­ss of that promise depends largely on location, access and mobility.

Throughout this issue, a deep narrative vein emerges: one of articulati­ng one’s relationsh­ip to the land. This is perhaps most directly communicat­ed in the works of Niap that grace our cover and this page. Her series Reclamatio­n and De-Categoriza­tion performati­vely reimagines the starkly photograph­ed Nunavik landscapes captured by southerner Robert Fréchette that would otherwise suggest a rugged, uninhabite­d space. Her brush strokes and electric palette— alongside the mixing of materials of the ceramicist­s, carvers and jewellers in this issue—illustrate the vibrant and generative partnershi­ps with the land, and all that entails, in each artist’s creative endeavour.

Britt Gallpen Editorial Director

 ??  ?? ABOVE
(b. 1986 Kuujjuaq/Montreal)
Uncategory 3 Land
Collaborat­ion with Robert Fréchette Archival pigment print and acrylic 61 × 91 cm
ABOVE Niap (b. 1986 Kuujjuaq/Montreal) — Uncategory 3 Land 2019 Collaborat­ion with Robert Fréchette Archival pigment print and acrylic 61 × 91 cm COURTESY MARION SCOTT GALLERY

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