Sea and Land: Arctic Landscapes
April 06 - April 27, 2017

Even now, the Arctic Circle remains a mysterious wonder to many of us. This collection of landscapes by three artists allow us to discover the Northern lands through their eyes. Featuring the works of Nicotye Samayualie, Nujalie Quvianaqtuliaq and Oooloosie Saila.


Nicotye Samayualie - Late Summer - 23" x 30" - $1,000


SOLD - Nicotye Samayualie - Malikjuak Park - 23" x 30" - $1,000


Nicotye Samayualie - Winter is Coming Soon - 30" x 23" - $1,000


Ooloosie Saila - Untitled - 23" x 15" - $400


Ooloosie Saila - Untitled - 23" x 15" - $400


Nujalie Quvianaqtuliaq - Beautiful Day - 25.5" x 19.75" - $500


Nujalie Quvianaqtuliaq - Lots of Island - 22" x 15" - $400


Nujalie Quvianaqtuliaq - Nice Day - 22" x 15" - $400


FEBRUARY 25 - MARCH 24, 2017

"We were introduced to the wonderful world of Ning's drawings in Spring of 2014. For many of us, it was love at first sight. It is no wonder that she became a leading artist for the Kinngait Studios. Her passion for the Inuit culture and language in the contemporary world, prowess as a story teller of legends and myths, and her incredible use of negative space are a few of the things I personally admire. I can't wait to share with you, the precious collection of Ning's owl drawings that just came in!"

- Yusun Ha, Retail Manager

Ningeokuluk Teevee Original Drawing - Comb

SOLD - Comb - 25 cm x 30 cm - $300

Ningeokuluk Teevee Original Drawing - Dancing Snowy Owl

SOLD - Dancing Snowy Owl - 28 cm x 25 cm - $300

Ningeokuluk Teevee Original Drawing - Lemmings Talk Back

Lemmings Talk Back - 50 cm x 66 cm - $1,200

Ningeokuluk Teevee Original Drawing - Nesting Owls

SOLD - Nesting Owls - $1,200
Ning has this wonderful and gentle way of injecting modernity into her drawings. The reference to Matryoshka dolls here is charming.

Ningeokuluk Teevee Original Drawing - Snowy Owl Mates

Snowy Owl Mates - 76 cm x 59 cm - $1,600
Her use of overlapping shapes is positively amazing!

Ningeokuluk Teevee Original Drawing - The Greedy Snowy Owl

The Greedy Snowy Owl - 76 cm x 59 cm - $1,600
How Ningeokuluk divided the space with her lines and shapes in this drawing is amazing.

Ningeokuluk Teevee Original Drawing - Untitled 01


Ningeokuluk Teevee Original Drawing - Untitled 02

75.5 cm x 56 cm - $1,400
There is a story of a raven painting the owl, which this drawing is illustrating. The raven's tracks have given the owl a pair of beautiful wings.

Ningeokuluk Teevee Original Drawing - Untitled 03

Untitled - $1,400

Ningeokuluk Teevee Original Drawing - Untitled 04

Untitled - $1,400

Ningeokuluk Teevee Original Drawing - Untitled 06

64.5 cm x 50.5 cm - $1,200 
The play between positive and negative spaces!


2016 Cape Dorset Print Collection
On Preview: Friday, October 7, 2016 10:00AM
On Sale: Saturday, October 15, 2016 8:00AM

Aingai Dear friends of the Inuit and Native Gallery,

This October 15th, at 8:15 am, I invite you to join me as I light my qulliq/kudlik (stone lamp) in celebration of our fabulous new location* and the opening of this year's Cape Dorset Print Collection.

Speaking of qulliq! I am enthralled by Ningiukuluk Nungusuituq's "Glowing Kudlik", her first contribution to the print release. Her delightful rendering, coincidentally, reminds me of my own qulliq, with its numerous nicks and scratches in the stone, testament to its age and long use.

For Inuit of my generation and those before me, the qulliq was essential for existence in our beautiful, treeless and cold land – being the sole source for interior light, heat, cooking and in the long winter, for melting snow and ice for water.

This spring, while visiting my mother in Igloolik, I was baking dinner rolls, when the stove caught on fire (faulty wiring). In a small isolated Arctic village, it takes a while to find a replacement appliance. Being temporarily stove-less led my mother to reminisce about the time we were without a qulliq.

She recalled it was late December, I was around 4, and she was heavily pregnant with my sister. We lived at Qaqqalik, an outpost camp on Baffin Island. My parents had decided to journey to Igloolik, 200 miles to the south to join their families for the Christmas season. This entailed travelling for 3 days and nights by dog team.

That time of year, above the Arctic Circle, it is dark for 24 hours a day, and temperatures hover around -30. In Qaqqalik, my parents had shared a qarngmaq (traditional Inuit stone and sod house) with my father's relations and therefore my mother had no lamp of her own. She was too timid to borrow one for our journey, as they were very precious and few.

After travelling through a long, dark and cold day, my father built an Igloo on the sea ice and we camped on our first night with no heat and light. A fellow traveller, Tatiggaq, a kind and generous older man stayed in our Igloo that evening. Although we had a small primus stove, we really had no proper source of heat and light. According to my mother, Tatiggaq felt very sorry for our little family.

The next morning, this gentleman asked my mother to hand him the large powdered "KLIM" milk can which was in our grub box. He emptied out the milk powder into a bag, and proceeded to saw the can in half vertically, then hammered the concave metal into a crescent shape- the perfect shatterproof qulliq. With a bit of seal blubber oil and a strip of cotton for a wick, my mother was set.

I do remember this event quite vividly as I was very alarmed seeing how my milk and its can were being treated. Needless to say, that evening, we were toasty warm and it seemed so bright in our frozen snow house, all thanks to our glowing qulliq!

Please join me on opening day Saturday, October 15, 2016. The prints will be available for preview starting on Friday, October 7, 2016. I look very forward to seeing you soon, Tavvauvusi!

Blandina Makkik
Director, Inuit & Native Gallery


2015 Cape Dorset Print Collection
Preview - Saturday, October 10 - Doors open at 10 am
International Release - Saturday, October 17 - Doors open at 8 am


Ningeokuluk Teevee - Dog with Kamiks - Stonecut & Stencil - 49.8 cm x 58.7 cm - $900



Ningeokuluk Teevee - Cuddle - Stonecut & Stencil - 32.5 cm x 28 cm - $600



Ningeokuluk Teevee - Raven Meets the Owl - Etching & Aquatint - 60 cm x 63 cm - $1000



Ningeokuluk Teevee - Raven's Regalia - Lithograph - 57.5 cm x 48.9 cm - $800



Ningeokuluk Teevee - Bear & Owl - Lithograph - 38.3 cm x 51 cm - $700



Ningeokuluk Teevee - Opulent Owl - Stonecut - 56.2 cm x 71.3 cm - $1200



Ningeokuluk Teevee - Red Umbrella - Lithograph - 46 cm x 38.5 cm - $650



Nicotye Samayualie - Salt & Pepper - Etching & Chine-Colle - 56.7 cm x 62 cm x $900



Nicotye Samayualie - Upingngivik (Summer Camp Site) - Stonecut - 66.5 cm x 51.8 cm - $800



Nicotye Samayualie - Sewing Day - Etching & Aquatint - 42 cm x 45.5 cm  - $600



Kudluajuk Ashoona - His & Hers - Etching & Aquatint - 40 cm x 39.5 cm - $500



Kudluajuk Ashoona - Sunday Afternoon - Lithograph - 38.3 cm x 39 cm - $500



Papiara Tukiki - Polar Bear in Camp - Stonecut & Stencil - 99.5 cm x 62 cm - $1400



Papiara Tukiki - Crested Ravens - Stonecut - 61.8 cm x 44.5 cm - $800



Shuvinai Ashoona - Global Currents - Etching & Aquatint - 70 cm x 70.5 cm x $1000



Malaija Pootoogook - Luminous Bird - Lithograph - 64.7 cm x 51 cm - $800



Malaija Pootoogook - Song Birds - Etching & Aquatint - 63 cm x 54.5 cm - $800



Qavavau Manumie - White Raven - Stonecut & Stencil - 61 cm x 47.2 cm - $800



Qavavau Manumie - Horned Muskox - Stonecut & Stencil - 49 cm x 32.5 cm - $600



Qavavau Manumie - Chasing the Loon - Stonecut & Stencil - 60.8 cm x 38.5 cm - $800



Qavavau Manumie - Looking Back - Lithograph - 57.5 cm x 38 cm - $600



Saimaiyu Akesuk - Courting Birds - Stonecut & Stencil - 79 cm x 62 cm - $1000



Saimaiyu Akesuk - Purple Bear - Etching & Aquatint - 42 cm x 45.2 cm - $600



Saimaiyu Akesuk - Tilt - Etching & Aquatint - 40 cm x 41 cm - $500



Pitaloosie Saila - Twilight Raven - Lithograph - 57 cm x 38.1 cm - $750



Pitaloosie Saila - Guiding Sedna - Etching & Aquatint - 69.5 cm x 68.5 cm - $900



Pitaloosie Saila - Sparkling Loon - Etching & Aquatint - 69.6 cm x 60.5 cm - $1000



Pitaloosie Saila - Epic Whale Hunt - Lithograph - 66.3 cm x 51 cm - $900



Ettusa Kingwatsiaq - Hop - Etching & Aquatint - 38 cm x 44.5 cm - $500



Cee Pootoogook - School of Fish - Stonecut - 71.8 cm x 57.3 cm - $800



Ohotaq Mikkigak - Last Umiak - Lithograph - 66.5 cm x 51.5 cm - $800



Papiara Tukiki - Smoking Caribou - Stonecut & Stencil - 66 cm x 52 cm - $800



Saimaiyu Akesuk - Pink Lemming - Stonecut & Stencil - 78.5 cm x 61.7 cm - $900



Saimaiyu Akesuk - Hot Spider - Lithograph - 56.7 cm x 76 cm - $900



Cee Pootoogook - Arctic Lice - Lithograph - 57 cm x 76.3 cm - $800


Aingai, dear friends of the Inuit and Native Gallery,

As I have earlier shared my musings on a particular print from the annual Cape Dorset collection, this year, the stone cut of Nicotye Samayualie’s “Upingngivik” (Summer Camp Site) conjures many memories for myself, of beautiful places and incredible times.

Ancient tent rings abound throughout the entire Canadian arctic region, a testament to peoples past who walked the Earth before us, while newer ones are in use by modern inhabitants. The location of these tent rings tell whether the inhabitants were inland caribou hunting, fishing on the coast or overnighting  enroute to another destination.

Today, as in days gone by, one of the great joys in the brief arctic summer is finally being able to set up a tent. As in Nicotye’s image, the outer ring of stones is used to secure the tent. The upper semi-circle is the sleeping platform; formerly covered by a layer of sweet smelling heather, over which soft and warm caribou sleeping hides were laid.


Look carefully below the straight line of stones, at the far left and far right. This is where the Qulliq (stone lamp) would have its place. This layout shows that two families shared the tent. The larger Qulliq area indicates the position of the “senior” woman. The women would have slept on the far sides, next to their husbands, and children were placed in the middle, with their heads facing towards the doorway.

One of my fond memories is of my cousin Micheline and I occupying the centre of the sleeping platform one summer, as our families shared a tent. Having no great responsibilities, we spent entire days playing and exploring. One lovely morning, sitting near the top of a hill, pounding sandstone into “sugar” for our teatime play, we observed a large pod of beluga whales swimming and playing in the cove below. The water was so blue, crystal clear and shallow, we could plainly make out the baby belugas from their mothers. Needless to say, Nicotye’s detailed “Summer Camp Site” reminds me of that privileged time!

The prints will be available for preview starting on Saturday October 10 at 10 a.m. The print sales opens on Saturday, October 17th this year at 8:00 a.m. The in-store clients will be served first on a first come first served basis. We welcome telephone and email orders. Please send any inquiries and requests to: This email address is being protected from spambots. You need JavaScript enabled to view it. or call 416-921-1721.

I look very forward to seeing you soon, Tavvauvusi!
Blandina Makkik
Director, Inuit & Native Gallery


ORIGINAL DRAWINGS BY: Pudlo Samayualie, Nicotye Samayualie, Olooreak Etungat, Kudluajuk Ashoona and Cee Pootoogook
July 9 - July 30, 2015

KerrsMaynardsMini Allsorts

Pudlo SamayualieKerr's, 38.9 cm x 58.5 cm, $450; Maynards, 38.3 cm x 58.5 cm, $450; Mini Allsorts, 55.1 cm x 76.5 cm, $600

Ladies SuppliesShape Shifters BattlefieldTraditional Hut

Nicotye SamayualieLadies Supplies, 58.5 cm x 76.2 cm, $800; Shape Shifter's Battlefield, 58.4 cm x 76 cm, $800; Traditional Hut, 49.9 cm x 65 cm, $600

Fly AwayLucky catch of the DayNapajuq

Olooreak EtungatFly Away, 49.9 cm x 64.9 cm, $450; Lucky Catch of the Day, 49.9 cm x 65 cm, $450; Napajuq, 49.9 cm x 65 cm, $450

Pudlo Sleeping with DollBarrel Jumping

Kudluajuk AshoonaPudlo Sleeping with a Doll, 76.1 cm x 58.6 cm, $600; Barrel Jumping, 49.8 cm x 64.9 cm, $500


Cee PootoogookAmautilik, 58.5 cm x 38.2 cm, $450; Pikiusavik, 58.5 cm x 38.5 cm, $450; Tuttuit, 65 cm x 50 cm, $500

Winter in the arctic, it is bitterly cold. The sun is not radiant, it’s warmth only memory. All colour appears to have vanished. Life itself is challenged in ways unique to this environment. Unaccustomed visitors wonder how fellow humans can possibly endure this bleak season. Yet Inuit endure, as they have for centuries. During these hard months, people often turn inward, contemplating, dreaming and imagining.

In past times, this is when great and poetic drum songs were composed, myths created, stories refined. Following the meditative spirit during this period, Inuit imagination and inspiration has been vividly articulated through the visual art of Kinngait (Cape Dorset) for the past 56 years.

As the older generation of artists pass on, contemporary artists explore themes based on modern Inuit life, the outside world and western inspired concepts. Here in the gallery, we sometimes hear comments such as “Well, that is not traditional” while viewing current Inuit art. At one point the great Kenojuak might have heard that precise comment from an Inuit elder, as she prepared to put pen to paper!

Art, in its many forms and in diverse cultures is never static. Fluidity is what makes the creative process exciting. We welcome the younger Inuit artist’s exploration and are delighted to present some of these new visions on paper. Napachie Pootoogook’s son and Annie Pootoogook’s brother, Cee, has a unique approach to both contemporary and traditional subject matter that you will not want to miss.

If you admired the late Keeleemeeomee Tunnillie’s work from the ‘60’s and ‘70’s, this is your chance to view her daughter Kudluajuk Ashoona’s vibrant visuals and her granddaughter’s Pudlo and Nicotye Samayualie’s stylistic similiarities.

Pudlo Samayualie will be in our gallery Thursday July 9th through to the 11th. She is so happy and excited, she has created a drawing of Toronto, a place she is visiting for the first time.


Birchbark, Fur, Quill and Moosehide from the Northwest Territories
June 15 - July 6, 2015

A very special Dene guest, Cathy Kotchea from Fort Liard, Northwest Territories, demonstrated her beadwork and quillwork. The Dene are famous for their intricately decorated moosehide clothing, mittens and footwear. Traditional motifs are worked in beads or porcupine quills. Floral designs are prominent, although bird and animal patterning is also used.

Cathy Kotchea: Cathy was born in Fort Liard, NT. She has been beading since she was a young girl, stringing beads with her mother, sister and grandmother. More recently the high demand has encouraged her to start selling her products. She finds great satisfaction and overall accomplishment from finishing products and selling them on the market.



From Qamanit'tuaq (Baker Lake) and Pangnirtung
March 5 - March 26, 2015

Victoria Manguqsualuk features prominently with her exquisite embroidery technique, depicting family, animals and the spirit world. We are awed by her ability to seamlessly integrate old Inuit views alongside snowmobiles and all-terrain vehicles in vivid hunting scenes. In contrast to her brilliant use of colour and vibrant imagery within her wall hangings, we include one of her woodcuts from 1998 titled “They Suffered Great Hunger”. As it is unusual for older Inuit artists’ to title their works, the fact that she has titled this particular piece emphasises the personal connection she places on this work.

Annie Taipana and Elizabeth Quinannaq’s works show strong patterns, utilizing repetition to create visually stunning and powerful images. All of the wall hangings start from cut pieces of cloth, which are embroidered with cotton thread, and then finally appliqued onto duffel (a heavy woolen fabric). This type of hand stitching technique requires great patience and dedication.

Baker Lake Wall Hanging - Victoria Mamnguqsualuk

Image: Victoria Mamnguqsualuk, Hunters (detail).


Original Drawing Exhibition: Tim Pitsiulak - Titiqtugaqti
November 15 - December 6, 2014

One of the most rewarding aspects of working in the Inuit art world is having the opportunity to meet the artists who create the remarkable art that we are surrounded by, here at our gallery. Last spring our gallery director, Blandina, had a chance to go back and visit with artists at the world renowned Cape Dorset Print Studios.

There is no word in Inuktitut, the Inuit language, to express the concept of 'art', therefore Inuit artists generally do not refer to themselves as such, rather humbly they tend to refer to themselves in the more mundane terms titiqtugaqti (one who draws) or in the case of a sculptor, sananguagaqti (a carver).

Tim Pitsiulak is a very gifted titiqtugaqti, whom Blandina had the great privilege to observe as he was creating Ivory Aqvik (Bowhead). A large scale drawing of one of his favourite subjects. The Inuit and Native Gallery has carried his prints for many years, and we are fortunate when he finds time to come and see us when he is in Toronto. He said he would be delighted for us to hold an exhibition of his original drawings.

Also available exclusively at Craft Ontario Shop is an exquisite landscape print from Tim, at an unusually small run of 12 editions. It is a burnished aquatint print titled Before and After, available for $450.

Tim Pitsiulak Print - Before and After

Our good friends at Dorset Fine Arts and Bill Ritchie, the Studio Manager of the Cape Dorset Print Shop have made this exhibition possible, and for that we say "Qujjanamiimarialuk" (Thank you so much).




Aiviq Timmiqti
50.5 x 65. cm

76.5 x 112 cm

  Dancing Bird  
76.5 x 112 cm




50.5 x 65.5 cm

Bear Protecting the Cubs
91 x 152.5 cm

50.5 x 65.5 cm




  Bear and Whale
112 x 76.5 cm

Bear Hunting Beluga
112 x 76.5 cm

   Beluga Patterns    
65.5 x 50.5 cm




3 Running Caribou
151 x 83 cm

Running Caribou
65.5 x 50.5 cm

Shedding Velvet
65.5 x 50.5 cm




Heading Home
65.5 x 50.5 cm

   Full Belly     

Winter Fish
65.5 x 50.5 cm

2014 Cape Dorset Print Collection
Official release on October 17, 2014

Invitation from our Director of Inuit & Native Gallery, Blandina Makkik:
Aingai, dear friends of the Inuit and Native Gallery of the Craft Ontario Shop. It is that wonderful time of year, when we offer the annual Kinngait (Cape Dorset) print collection for viewing and sale. It is a large collection with 19 stone-cuts, 10 lithographs, 8 etchings and 1 stencil. I thought I may share with you my musings on one print in the collection.

At times I am deeply touched by deceptively simple subject matter, portraying everyday items. This year, “Bag of Ice” by Siassie Kenneally, brings me back to the past, through the unspoken story behind the image. It also makes me envious of the mail bag owner to have such a magnificent ice bag!

Since early British explorers introduced tea to Inuit, it has been the beverage of choice in most households across the arctic. Northerners are very particular about the quality of water for their tea, and, as nothing is purer than glacial ice, it is the desired source of fresh water. “Harvesting” ice for tea was a chore given to all children by their parents and grandparents. As young children, much as we adored our Ningiuq (grandmother), I and my cousins would cast anxious glances at the level of the melted ice in her ice pot (very large stainless steel stockpot style pots kept in a corner of the kitchen) and make ourselves scarce when the water level was low. However, we could not stay away long from my grandmother’s home, it being the centre of our universe, therefore it was not a matter if we were to be told to get the ice, but when!

Carrying large pails or bags to contain the ice, we would dawdle to the shore where huge pieces of ice floes, broken off of icebergs, would be beached at the tide line. To chip the ice, we used a large icepick or a sharp pointed knife. As we used these tools daily, we were trusted to be careful with them. We first cleaned off the top murky layer of ice, then proceeded to fill our pails and bags. For a secure grip we had to chip the ice without mittens, making for very cold hands. We would then trudge slowly back, our containers heavily laden, then chip the ice into smaller pieces until the ice pot was full once more. This print reminds me of those joyful times with my cousins.

The print sale opens Friday October 17th at 8:00 a.m. Those in the Craft Ontario Shop will be served first. We welcome telephone and email orders. Please send any inquiries and requests to This email address is being protected from spambots. You need JavaScript enabled to view it. or phone 416-921-1721.


Blandina Makkik Signature

Blandina Makkik
Director, Inuit & Native Gallery




1. Cee Pootoogook
57 cm x 76.5 cm

2. Itee Pootoogook
Sunlit Interior
42.5 cm x 44 cm

3.Itee Pootoogook 
Drifting Ice
56.8 cm x 38.7 cm




4. Kakulu Saggiaktok
Cats & Dogs
40 cm x 39.5 cm

5. Kudluajuk Ashoona
Northern Exposure
57 cm x 76.3 cm

6. Kudluajuk Ashoona
66.3 cm x 51.5 cm




7. Malaija Pootoogook
Reclining Caribou
74 cm x 70.5 cm

8. Mayoreak Ashoona
60.7 cm x 63 cm

9. Ningeokuluk Teevee
Ruffled Feathers
57 cm x 76.4 cm




10. Ningeokuluk Teevee
33 cm x 27.5 cm

11. Ningeokuluk Teevee
30.5 cm x 41 cm

12. Ningeokuluk Teevee
The Swimmer
79.5 cm x 61.5 cm




13. Ningeokuluk Teevee
Owl Nesting
35.5 cm x 30.5 cm

14. Ningeokuluk Teevee
Siku Siggiaju (Spring Break Up)
75 cm x 62 cm

15. Ningeokuluk Teevee
Owl's Lookout
45.5 cm x 68.5 cm




16. Ningeokuluk Teevee
Shape Shifter
65.5 cm x 47 cm

17. Ningeokuluk Teevee
Raven with Ulu
63.8 cm x 52 cm

18. Ohotaq Mikkigak
Joyful Loon
60 cm x 59.5 cm




19. Ohotaq Mikkigak
Hidden Caribou
38.3 cm x 32.5 cm

20. Ohotaq Mikkigak
Calm Waters
58.5 cm x 50.7 cm

21. Ohotaq Mikkigak
Morning Catch
43.5 cm x 40 cm




22. Papiara Tukiki
22.3 cm x 18 cm

23. Papiara Tukiki
Winter Hare
62 cm x 49.5 cm

24. Pitaloosie Saila
Diving Fish
69.5 cm x 72.5 cm




25. Pitaloosie Saila
Heading Home
57.5 cm x 38.5 cm

26. Pitaloosie Saila
Marruliak (Twins)
76 cm x 79.5 cm

27. Pitaloosie Saila
Lustrous Char
67.5 cm x 53 cm




28. Qavavau Manumie
Tingling Bird
49.5 cm x 62 cm

29. Saimaiyu Akesuk
Qaumajaq (Fly)
62 cm x 94.8 cm

30. Saimaiyu Akesuk
Radiant Spirit
62 cm x 95.7 cm




31. Saimaiyu Akesuk
Striped Goose
70.8 cm x 59 cm

32. Shuvinai Ashoona
Inner Worlds
57 cm x 76.3 cm

33. Shuvinai Ashoona
Head Pull
66.5 cm x 42 cm




34. Siassie Kenneally
Cold Kettle
80 cm x 50.5 cm

35. Siassie Kenneally
Bag of Ice
66.3 cm x 61 cm

36. Siassie Kenneally
Clams and Roe
38.5 cm x 46 cm



37. Tim Pitsiulak
Diving Walrus
60 cm x 71 cm

38. Tim Pitsiulak
Sated Bear
69.8 cm x 52 cm


Germaine Arnaktauyok: Retrospective of works 1993-2010
July 28 - August 27, 2014

Germaine was born in 1946 and makes her home in Yellowknife, Northwest Territories. She first started painting at the residential school in Chesterfield Inlet. She studied fine arts at the University of Manitoba, Commercial and Fine Crafts at Algonquin College in Ottawa and printmaking at Arctic College in Iqaluit, Nunavut. She designed the reverse of the two dollar coin issued by the Royal Mint in 1999 to commemorate the inception of Nunavut, as well as a two hundred dollar special edition gold piece issued in 2000.
Words from the Gallery Director, Blandina Makkik: "I feel a great connection with this upcoming solo show of Germaine’s work. She and I were born and raised in the Igloolik area, she is my father’s cousin, and we were sent to the same residential school. As her themes and subject matter are very familiar to myself, I generally do not have to guess at the story behind her images. It is instant visual recognition of a way of life, values and stories which are disappearing as Inuit continue in their adaptation to the new way of living in the Arctic.

I am always particularly drawn to her Mother and Child imagery. The beautifully captured clothing within her art brings evocative memories from my childhood. Especially during festive seasons when the women would try to outdo each other in clothing design, whether it was beadwork decoration or delicate patterning with contrasting strips of caribou or sealskin, using time consuming, hand executed techniques with extreme attention to detail. Like women around the world, Inuit ladies liked to demonstrate their personal take on fashions, especially since they were creating from beautiful furs, hides and skins they had prepared themselves, the original haute couture!"


Image: Ivory Combs
Germaine created these images of ancient combs from actual combs that were discovered across Canada Arctic.  From left to right: Igloolik, Central Arctic, Central Arctic, Western Arctic, Central Arctic, Western Arctic. These combs are representative of the Dorset and Thule cultures except for the far right comb which is from the Copper, dated 19th century. Etching and aquatint on paper.


Images from left to right: Night and Day
Germaine has interpreted another Inuit legend relating to the creation of the earth, “Night and Day”. Her previous print ‘When There was no Light” showed how a hunter licked their index finger to catch light from the darkness, enabling him to see the animals and birds, which at that time were all white. The print “Night and Day” is another legend, also relating to the creation of earth and is about the creation of the light of day. Hunters noticed that whenever the raven flew about, with its shrieks and calls, light appeared. This was the formation of day, with the light of the early sun behind it. The arctic hare represents the night with the dark starry sky in the background. Etching and aquatint on paper.

You Will Have My father’s Name
Inuit believe that when a child is born, the ‘soul’ or spirit of a recently deceased relative is taken on by the newborn. The newborn is then named after this relative. This ‘soul’ manifests in the child in a variety of ways, including certain physical characteristics, skills or personality traits. Since the child is, in a sense, part of the person after whom they have been named, they are deserving of the same respect and treatment as this person received while they were alive. Etching and aquatint on paper.

Soul to Soul I
Germaine’s meticulous drawings are made up of what she calls 'squiggles.' Using a fine pen, she makes continuous twisted lines. To create a darker area, she repeats the squiggles over and over again; for lighter areas, she draws little dots. This means she has to think ahead as she draws to make sure she doesn't make a light area dark. When she was thinking about the work, she imagined putting two puzzles together. "If you look at the forms in between them, everything is well proportioned but they're together at the same time but apart at the same time. I like doing that. I like adding little things. I think that's the most fun." Ink on Paper.


New original drawings by Ningeokuluk Teevee

Words from the Gallery Director, Blandina Makkik: "I wanted to share that we have just received 5 stunning new drawings by Ningeokuluk Teevee. One of my very favorites, “The Barren Woman” is very touching. A woman cradles a large lichen-covered stone, as if it were a beloved child. It is a summer setting. At this time of the year, Inuit families “go back to the land” returning to their ancient hunting grounds. Tents are used, and because of the permafrost, Inuit do not use tent pegs, rather, large stones are used to anchor the tent. I am imagining that this woman has carried the stone to secure her tent and is mesmerized by the shape. Ningeokuluk has captured the longing and yearning of this woman completely."

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Owl (Ukpik) cradles a Raven (Tulugaq). The decorative curves suggest forceful winds ruffling her feathers. Perhaps Owl has rescued her friend Raven?

“The Barren Woman”

A woman cradles a large lichen-covered stone, as if it were a beloved child. It is a summer setting.

“Reindeer, Fox and Hare”

This drawing is possibly based on the story of the three brothers. The three are on the lookout for wolves. Why does the hare have a gold tooth? Is it really a walrus tusk? Why is Fox wearing a man’s parka?

GirlBecomingAnOwl -web Ukpikjuaq Amaaqtuuq-web

“Girl Becoming An Owl”

As the girl turns on her side, her amauti (woman’s parka) twists away from her as one kamik (boot) is also turned. This is the trans-formation of human to bird.

“Ukpikjuaq Amaaqtuuq” (Ukpik Carries a Child)

The owl is a favorite subject of Ningeokuluk. The rich texture of the amauti is a beautiful contrast with the black.

A Message from Cape Dorset Fine Arts - Kate Vasyliew, Head of prints and drawings:

We at Dorset Fine Arts have been privileged to witness the development of Ningeokuluk’s talent from her earliest drawings to these most recent large scale and magnificent works. Ningeokuluk’s drawings capture the viewer’s attention through her bold design, intriguing subject matter and striking compositions. There is a strong narrative element to her work, telling vivid stories through lines, shapes and colours. Her incredible range of drawing styles from intricate patterns to a few simple lines add a vibrant sense of life and energy to her art.

Ningeokuluk draws image of Inuit legend often adding a contemporary twist and frequently approaches her subjects with humour and whimsy. Influenced by a desire to preserve Inuit stories and to depict community and environmental change, her work raises important social issues. Women are prominently featured in much of her work. Young and old, modern and traditional, portrayed in daily activities from mundane to mythic, they all seem to be part of a celebration of women.

Within the last year, Ningeokuluk has transitioned beautifully to large scale drawings creating striking images with vivid broad areas of colour that intertwine flawlessly with the negative space of the black paper. Her dynamic drawings lend themselves perfectly to printmaking, and she has now become the star of the annual Cape Dorset print collection, having created several iconic and well loved images.



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