In the interest of public safety, the IAF’s offices are closed until future notice. Staff are continuing to work off-site supporting Inuit artists and their work.

During this unprecedented and challenging time, it is more important than ever to remain connected to each other. The IAF remains committed to making sure that artists have access to opportunities and bringing you inspiring artworks, artist profiles and untold stories.

Thank you for being a part of our community, we wish you health and comfort during this difficult time.

20 Carvers to Know in 2020: Priscilla Boulay

by Emily Henderson | Jan 10, 2020

Since the day her uncle handed her a piece of stone to polish at the age of three, Priscilla Boulay has lived her life surrounded by carving. A third-generation artist hailing from a family of artists in Tuktuuyaqtuq, Inuvialuit Settlement Region, NT, Boulay says she creates to keep the legacy of her grandfather, Bobby Taylor-Pokiak (1927–2005), alive. Currently residing in Irricana, AB, Boulay decided to devote herself to making art full time nine years ago and has been working in stone, horn and antler ever since.

For Boulay the creative process begins with an exploration of the shape of an antler, which she uses as the base for many of her pieces. Of the undulating lines of her sculptures Boulay says, “I like the antlers to look as though they are forming the water.” Following the completion of the base, “I try to figure out what I want and where I want the belugas,” she explains. “From there I can see how much stone I’m going to need, so I can start creating the hunter and the kayak.” Her unique forms of windswept muskox, hunting scenes and belugas have gained a following on social media, where the artist shares images of completed works as well as behind-the-scene peeks into her artistic process.

Find More Carvers

20 Carvers to Know in 2020: Priscilla Boulay

by Emily Henderson | Jan 10, 2020

Since the day her uncle handed her a piece of stone to polish at the age of three, Priscilla Boulay has lived her life surrounded by carving. A third-generation artist hailing from a family of artists in Tuktuuyaqtuq, Inuvialuit Settlement Region, NT, Boulay says she creates to keep the legacy of her grandfather, Bobby Taylor-Pokiak (1927–2005), alive. Currently residing in Irricana, AB, Boulay decided to devote herself to making art full time nine years ago and has been working in stone, horn and antler ever since.

For Boulay the creative process begins with an exploration of the shape of an antler, which she uses as the base for many of her pieces. Of the undulating lines of her sculptures Boulay says, “I like the antlers to look as though they are forming the water.” Following the completion of the base, “I try to figure out what I want and where I want the belugas,” she explains. “From there I can see how much stone I’m going to need, so I can start creating the hunter and the kayak.” Her unique forms of windswept muskox, hunting scenes and belugas have gained a following on social media, where the artist shares images of completed works as well as behind-the-scene peeks into her artistic process.

Find More Carvers

Special Features
De-ICE-Olation
Online Artist Workshop Series

In collaboration with Inuit Futures, we're hosting a series of online Inuit artist-led workshops and presentations to help us stay connected, alone together!

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Featured
Artist


Janet Nungnik


Janet Nungnik is a talented artist from Qamani'tuaq (Baker Lake), NU, who uses embroidery and appliqué to create immense wallhangings that tell the story of her life and people. Nungnik has had two solo exhibitions in the previous year, The Eagle's Shadow at Marion Scott Gallery and a self-titled show at the MicMichael Canadian Art Collection. Nungnik will be featured in the upcoming Spring 2020 Threads issue as part of Krista Ulujuk Zawadski's piece "Threading Memories".


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Igloo Tag

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The Canadian federal government created the Igloo Tag Trademark in 1958 in order to protect Inuit visual art from mass-produced, fraudulent work. The trademark, most often applied to sculpture, is a safeguard for collectors and artists that only applied to works made by Inuit.

The Inuit Art Foundation accepted the rights to the trademark from the government in 2017. For the first time, the trademark is now led by Inuit, for Inuit.

 

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