Lydia Audlaluk
Inspired by the colour soft he northern lights, Lydia Audlaluk adds rows of beads in alternating jewel tones of amethyst, emerald and indigo to a piece of sealskin in the shape of an ulu blade. Based in Montreal, QC, Audlaluk first taught herself to bead while recreating a necklace she coveted from an online auction site while she was a student at John Abbott College. After her work was met with enthusiasm, Audlaluk decided to experiment with new materials and add sealskin to her delicately beaded jeweller y.
Using the sewing skills her mother and aunt taught her and sealskin scraps sourced by a friend online, Audlaluk created her first pair of beaded sealskin earrings—a signature style for which she is now known. “Full-time anaana, part-time beader” is how Audlaluk describes herself on her Instagram page, where she sells her work under the name Anouapik, which translates to “beautiful Anouk” in honour of her daughter.
Taking pride in her family, culture and home community of Ivujivik, Nunavik, QC, Audlaluk’s pieces reference everything from the distinctive forms found in traditional tools to colour schemes from her daughter’s drawings. “Oftentimes, I’m inspired by our land,” she explains. “I always pick colours that remind me of something, so I always try to imagine the North . . . looking at landscapes, or traditional clothing.”
The result is her highly sought-af ter earrings, which are as elegant as they are meticulously constructed. Audlaluk ensures each piece fits into a cohesive theme for a product drop, some of which include her Polar Collection, featuring snow-white sealskin studs fringed with gold, silver and pearl beads; and the Flower Petal
Collection, a reversible drop earring in varying shades of natural and dyed sealskin with a complementary beaded trim.
Her most popular style is her ulu blade earrings, worn by high-profile clients like Elisapie Isaac, Mumilaaq Qaqqaq and Riit. Audlaluk remarks that there is a responsibility that comes with the added exposure, saying, “There’s a lot of misconceptions, a lot of bad images when it comes to the use of sealskin [from] people that don’t really know about our culture.”
This is when Audlaluk first began creating short viral videos posted on her Instagram account, giving bite-sized tutorials on topics like the ethical harvesting of seals and what an ulu is used for. “I thought it was important to educate people about our culture, and I thought it would be a good way to maybe share a bit about myself,” she says.
Making sure to share the spotlight, Audlaluk uses her platform to highlight the work of fellow Inuit artists working with sealskin. “It’s important to know that we all have room to succeed. The reason I showcase a lot of other people’s work is because there’s so much space for all of us,” she states, adding, “the more people work on sealskin, the less stigma it ’ll have.”
But Audlaluk’s work doesn’t stop there. This past June she ran a campaign on her social media, helping to raffle pieces donated by 20 Indigenous artists, including fellow jeweller Phebe Bentley and seamstress Ujarak Appadoo. The campaign raised almost $10,000 for the Indian Residential School Survivor Society.
Lydia Audlaluk has helped to form a resilient community of artists and admirers who support and up lift each other. Through her work, she has created a space for sharing knowledge and honouring culture through connection, beads and sealskin.
Leanne Inuarak-Dall is a writer and multidisciplinary artist. Originally from Ontario, she uses her work to explore her identity as a white Inuk raised in an urban setting. She is currently based in Vancouver, BC, where she is completing her post secondary studies in Fine Ar ts and working as a contributing editor for the Inuit Art Quarterly.