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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: Ruben Anton Komangapik

by Jessica MacDonald | Jan 14, 2020

Although he carved sporadically as a child, Ruben Anton Komangapik became serious about art-making when he enrolled in the Jewelry and Metalwork Arts program at Nunavut Arctic College. Innovative, unique and surprising, his works bridge the gap between traditional and contemporary, mystical and physical. As a stone and bone sculptor and a member of the Metal Guild of Canada, Komangapik’s mastery of different mediums leaves him free to mix materials in unique ways, like laying metalwork or precious gems into stone and bone carvings. 

Komangapik’s paternal grandfather Joshua Komangapik, who played a leading role in his childhood in Mittimatalik (Pond Inlet), NU, is one of the reasons Komangapik engages so frequently with Inuit spirituality and traditional mythology. His depictions of shamans and shamanistic activity are influenced by Joshua, who was known for his spiritual abilities within his community. Another factor is Komangapik’s determination to hold on to his culture. “When I’m lost in my art—I’m at home,” says Komangapik, a valuable immersion technique for someone like Komangapik, who has moved far from his birthplace and now resides in Quebec. 

Sedna shows Komangapik’s carving abilities with notoriously brittle whalebone, and his clever use of the texture of the material to depict individual strands of hair on Sedna’s head. The graceful arc of her tail belies the temperament indicated by the open mouth and staring eyes, showing both the tender and tempestuous facets of this notoriously stormy goddess.

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20 Carvers to Know in 2020: Ruben Anton Komangapik

by Jessica MacDonald | Jan 14, 2020

Although he carved sporadically as a child, Ruben Anton Komangapik became serious about art-making when he enrolled in the Jewelry and Metalwork Arts program at Nunavut Arctic College. Innovative, unique and surprising, his works bridge the gap between traditional and contemporary, mystical and physical. As a stone and bone sculptor and a member of the Metal Guild of Canada, Komangapik’s mastery of different mediums leaves him free to mix materials in unique ways, like laying metalwork or precious gems into stone and bone carvings. 

Komangapik’s paternal grandfather Joshua Komangapik, who played a leading role in his childhood in Mittimatalik (Pond Inlet), NU, is one of the reasons Komangapik engages so frequently with Inuit spirituality and traditional mythology. His depictions of shamans and shamanistic activity are influenced by Joshua, who was known for his spiritual abilities within his community. Another factor is Komangapik’s determination to hold on to his culture. “When I’m lost in my art—I’m at home,” says Komangapik, a valuable immersion technique for someone like Komangapik, who has moved far from his birthplace and now resides in Quebec. 

Sedna shows Komangapik’s carving abilities with notoriously brittle whalebone, and his clever use of the texture of the material to depict individual strands of hair on Sedna’s head. The graceful arc of her tail belies the temperament indicated by the open mouth and staring eyes, showing both the tender and tempestuous facets of this notoriously stormy goddess.

Find More Carvers

20 Carvers to Know in 2020: Ruben Anton Komangapik

by Jessica MacDonald | Jan 14, 2020

Although he carved sporadically as a child, Ruben Anton Komangapik became serious about art-making when he enrolled in the Jewelry and Metalwork Arts program at Nunavut Arctic College. Innovative, unique and surprising, his works bridge the gap between traditional and contemporary, mystical and physical. As a stone and bone sculptor and a member of the Metal Guild of Canada, Komangapik’s mastery of different mediums leaves him free to mix materials in unique ways, like laying metalwork or precious gems into stone and bone carvings. 

Komangapik’s paternal grandfather Joshua Komangapik, who played a leading role in his childhood in Mittimatalik (Pond Inlet), NU, is one of the reasons Komangapik engages so frequently with Inuit spirituality and traditional mythology. His depictions of shamans and shamanistic activity are influenced by Joshua, who was known for his spiritual abilities within his community. Another factor is Komangapik’s determination to hold on to his culture. “When I’m lost in my art—I’m at home,” says Komangapik, a valuable immersion technique for someone like Komangapik, who has moved far from his birthplace and now resides in Quebec. 

Sedna shows Komangapik’s carving abilities with notoriously brittle whalebone, and his clever use of the texture of the material to depict individual strands of hair on Sedna’s head. The graceful arc of her tail belies the temperament indicated by the open mouth and staring eyes, showing both the tender and tempestuous facets of this notoriously stormy goddess.

Find More Carvers

 

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Featured
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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