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SPECIAL FEATURE

What Gets Lost


The Canadian Eskimo Arts Council's Rejected Prints



The CEAC spent decades moderating the sale of Inuit art to southern audiences by prohibiting works arbitrarily deemed unacceptable from entering the market. We examine what works were rejected and why.


by IAQ

20 Carvers to Know in 2020: Mathew Ashevak

by Jessica MacDonald | Jan 13, 2020

Although only in his mid-thirties, sculptor Mathew Ashevak has over thirty years’ experience carving. How? He began carving at the age of five. Born in Kinngait (Cape Dorset), NU, Ashevak is from a highly artistic family. His father, Adamie Ashevak, is a noted carver, and his grandparents include sculptor Pauta Saila, graphic artist Pitaloosie Saila, and the legendary Kenojuak Ashevak.

Ashevak often focuses on shamans and transformation in his work. Known for his openwork carving technique and attention to detail, his pieces display a fluid sense of movement and purpose. Every curve is polished to perfection, an action suspended in stone by a master carver. 

Here, Ashevak’s drum dancer balances gracefully on two feet while leaning backward, presumably looking sideways at his audience. The solid black marble creates a strong juxtaposition with the ivory drum, which beckons in the figure’s outstretched arms. Although the hair is the only densely textured part of this sculpture, Ashevak has suggested folds in the parka at the figure’s waist through gentle rolls, mimicking the effect that would be created were a parka-clad human to pose this way. Ashevak enacts these subtle details with the same skill his drummer must perform his dance.

20 Carvers to Know in 2020: Mathew Ashevak

by Jessica MacDonald | Jan 13, 2020

Although only in his mid-thirties, sculptor Mathew Ashevak has over thirty years’ experience carving. How? He began carving at the age of five. Born in Kinngait (Cape Dorset), NU, Ashevak is from a highly artistic family. His father, Adamie Ashevak, is a noted carver, and his grandparents include sculptor Pauta Saila, graphic artist Pitaloosie Saila, and the legendary Kenojuak Ashevak.

Ashevak often focuses on shamans and transformation in his work. Known for his openwork carving technique and attention to detail, his pieces display a fluid sense of movement and purpose. Every curve is polished to perfection, an action suspended in stone by a master carver. 

Here, Ashevak’s drum dancer balances gracefully on two feet while leaning backward, presumably looking sideways at his audience. The solid black marble creates a strong juxtaposition with the ivory drum, which beckons in the figure’s outstretched arms. Although the hair is the only densely textured part of this sculpture, Ashevak has suggested folds in the parka at the figure’s waist through gentle rolls, mimicking the effect that would be created were a parka-clad human to pose this way. Ashevak enacts these subtle details with the same skill his drummer must perform his dance.

20 Carvers to Know in 2020: Mathew Ashevak

by Jessica MacDonald | Jan 13, 2020

Although only in his mid-thirties, sculptor Mathew Ashevak has over thirty years’ experience carving. How? He began carving at the age of five. Born in Kinngait (Cape Dorset), NU, Ashevak is from a highly artistic family. His father, Adamie Ashevak, is a noted carver, and his grandparents include sculptor Pauta Saila, graphic artist Pitaloosie Saila, and the legendary Kenojuak Ashevak.

Ashevak often focuses on shamans and transformation in his work. Known for his openwork carving technique and attention to detail, his pieces display a fluid sense of movement and purpose. Every curve is polished to perfection, an action suspended in stone by a master carver. 

Here, Ashevak’s drum dancer balances gracefully on two feet while leaning backward, presumably looking sideways at his audience. The solid black marble creates a strong juxtaposition with the ivory drum, which beckons in the figure’s outstretched arms. Although the hair is the only densely textured part of this sculpture, Ashevak has suggested folds in the parka at the figure’s waist through gentle rolls, mimicking the effect that would be created were a parka-clad human to pose this way. Ashevak enacts these subtle details with the same skill his drummer must perform his dance.

 

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Artist

Tarralik Duffy

Tarralik Duffy is a talented artist, jeweller and writer from Salliq (Coral Harbour), NU currently based in Saskatoon, SK. Working primarily in jewellery design, she also uses textiles and other mediums to produce clothing and accessories for her label Ugly Fish. She has travelled across Canada exhibiting and selling her work including shows at the Winnipeg Art Gallery in Winnipeg, MB. Her work is currently available at the National Gallery of Canada Boutique in Ottawa, ON. Recently, Duffy contributed the Feature story "Uvanga/Self: Picturing Our Identity" on self-portraiture for the Fall 2018 issue of the "Inuit Art Quarterly."

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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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