From the Ed­i­tor

Inuit Art Quarterly - - CONTENTS -

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 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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