Impact Stories

Niviaksiak’s Evocative Sculptures and Prints

by Tiffany Raddi | Sep 16, 2025

“I don’t know who did the first print, but Kiakshuk, Niviaksiak, [Osuitok] and Tudlik were all drawing at the beginning.” 
—Pitseolak Ashoona quoted in Pitseolak: Pictures Out of My Life (2003)

Admiring the work of established Inuit artists such as Niviaksiak (1908–59) often sparks my creativity, encouraging me to pick up half-finished projects or seek out artmaking workshops. Niviaksiak was a renowned sculptor, graphic artist and printmaker based in Kinngait, NU, who began his artistic practice in sculpture before becoming one of the earliest artists to work in printmaking in Kinngait. 

His works often feature moments of life on the land—hunting, fishing, setting up camp—as well as various groups of animals, with polar bears as a recurring subject. Whether as works on paper or as sculptures, I find his artworks engaging. The more static poses of the figures leave me wondering about their stories, while the more dynamic poses have me picturing the next moments, and the following three works highlight this range for me.  


niviaksiak-The-Archer (1)
Niviaksiak The Archer (1960) Printmaker Iyola KingwatsiakREPRODUCED WITH PERMISSION DORSET FINE ARTS COURTESY WADDINGTON’S AUCTIONEERS AND APPRAISERS, TORONTO © THE ARTIST
The detail in The Archer (1960) is impressive. Crisp lines present in the blue-hued hunter outline the details of his clothing as well as the position of his arm as he draws back an arrow. Illustrated by Niviaksiak and impressively pulled from the stencil by Iyola Kingwatsiak (1933–2000), the print easily conveys the hunter’s determined gaze and assured stance. It’s been years since I’ve held a bow, but I can recall the tension within your body when you are moments away from releasing an arrow. I can only imagine the pride this hunter would feel when he not only successfully hits one of the geese flying above him but also provides for himself and his kin. 

firstarts-niviaqsi-niviaksiak-1908-1959-kinngait-cape-dorset-mother-with-a-child-on-her-shoulders-c.-1955 (1)
Niviaksiak Mother with a Child on Her Shoulders (c. 1955)REPRODUCED WITH PERMISSION DORSET FINE ARTS COURTESY FIRST ARTS © THE ARTIST
The first word that comes to mind when looking at Mother with a Child on Her Shoulders (c. 1955) is comfort. The two figures are bundled up warmly, prepared to face a chilly day, but as the child isn’t tucked safely in the hood of their mother’s amauti, it can’t be too cold outside. The etching of the otherwise smooth, dark stone denotes the sleeve cuffs and lower hem of her amauti—simple but effective details in the sculpture that add a touch of style to the clothing. 

Sitting comfortably perched on their mother’s shoulders, the child bravely faces forward, and I cannot help but wonder what they see. From this greater vantage point than they usually have, there is surely plenty to catch their eye. 


niviaksiak-Hunter-with-bear (1)
Niviaksiak Hunter with Bear (1959)REPRODUCED WITH PERMISSION DORSET FINE ARTS COURTESY WADDINGTON’S AUCTIONEERS AND APPRAISERS, TORONTO © THE ARTIST
In Hunter with Bear (1959), we see an inversion of the colour scheme in The Archer, with the hunted expressed in colour rather than the hunter. The red draws the viewer’s eye to the polar bear atop the sled, but something else about the scene draws the eyes of the sled dogs in the foreground. The hunter appears to be fiddling with the rigging, which the dogs may be waiting attentively to be harnessed to, but I like to imagine that there’s more to the story. Silhouetted against the snow, his pose is delightfully ambiguous, and I prefer to believe that the hunter is doing a little victory dance, the rope in his hand a makeshift microphone and the resting dogs his captive audience. After a successful—and no doubt difficult—hunt, I too would feel up to a little celebration before the trip home.  

If you enjoyed Niviaksiak’s artworks, you might also like work by Victor Ekootak (1916–65), who was based in Ulukhaqtuuq, Inuvialuit Settlement Region, NT; Davidialuk Alasua Amittu (1910–76), who was based in Puvirnituq, Nunavik, QC; and Mary Pudlat (1923–2001), who was also based in Kinngait.




This Artist Spotlight originally appeared in the September 2025 Inuit Art Quarterly newsletter. Sign up for the newsletter here and be the first to receive new spotlights!

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Niviaksiak’s Evocative Sculptures and Prints

by Tiffany Raddi | Sep 16, 2025

“I don’t know who did the first print, but Kiakshuk, Niviaksiak, [Osuitok] and Tudlik were all drawing at the beginning.” 
—Pitseolak Ashoona quoted in Pitseolak: Pictures Out of My Life (2003)

Admiring the work of established Inuit artists such as Niviaksiak (1908–59) often sparks my creativity, encouraging me to pick up half-finished projects or seek out artmaking workshops. Niviaksiak was a renowned sculptor, graphic artist and printmaker based in Kinngait, NU, who began his artistic practice in sculpture before becoming one of the earliest artists to work in printmaking in Kinngait. 

His works often feature moments of life on the land—hunting, fishing, setting up camp—as well as various groups of animals, with polar bears as a recurring subject. Whether as works on paper or as sculptures, I find his artworks engaging. The more static poses of the figures leave me wondering about their stories, while the more dynamic poses have me picturing the next moments, and the following three works highlight this range for me.  


niviaksiak-The-Archer (1)
Niviaksiak The Archer (1960) Printmaker Iyola KingwatsiakREPRODUCED WITH PERMISSION DORSET FINE ARTS COURTESY WADDINGTON’S AUCTIONEERS AND APPRAISERS, TORONTO © THE ARTIST
The detail in The Archer (1960) is impressive. Crisp lines present in the blue-hued hunter outline the details of his clothing as well as the position of his arm as he draws back an arrow. Illustrated by Niviaksiak and impressively pulled from the stencil by Iyola Kingwatsiak (1933–2000), the print easily conveys the hunter’s determined gaze and assured stance. It’s been years since I’ve held a bow, but I can recall the tension within your body when you are moments away from releasing an arrow. I can only imagine the pride this hunter would feel when he not only successfully hits one of the geese flying above him but also provides for himself and his kin. 

firstarts-niviaqsi-niviaksiak-1908-1959-kinngait-cape-dorset-mother-with-a-child-on-her-shoulders-c.-1955 (1)
Niviaksiak Mother with a Child on Her Shoulders (c. 1955)REPRODUCED WITH PERMISSION DORSET FINE ARTS COURTESY FIRST ARTS © THE ARTIST
The first word that comes to mind when looking at Mother with a Child on Her Shoulders (c. 1955) is comfort. The two figures are bundled up warmly, prepared to face a chilly day, but as the child isn’t tucked safely in the hood of their mother’s amauti, it can’t be too cold outside. The etching of the otherwise smooth, dark stone denotes the sleeve cuffs and lower hem of her amauti—simple but effective details in the sculpture that add a touch of style to the clothing. 

Sitting comfortably perched on their mother’s shoulders, the child bravely faces forward, and I cannot help but wonder what they see. From this greater vantage point than they usually have, there is surely plenty to catch their eye. 


niviaksiak-Hunter-with-bear (1)
Niviaksiak Hunter with Bear (1959)REPRODUCED WITH PERMISSION DORSET FINE ARTS COURTESY WADDINGTON’S AUCTIONEERS AND APPRAISERS, TORONTO © THE ARTIST
In Hunter with Bear (1959), we see an inversion of the colour scheme in The Archer, with the hunted expressed in colour rather than the hunter. The red draws the viewer’s eye to the polar bear atop the sled, but something else about the scene draws the eyes of the sled dogs in the foreground. The hunter appears to be fiddling with the rigging, which the dogs may be waiting attentively to be harnessed to, but I like to imagine that there’s more to the story. Silhouetted against the snow, his pose is delightfully ambiguous, and I prefer to believe that the hunter is doing a little victory dance, the rope in his hand a makeshift microphone and the resting dogs his captive audience. After a successful—and no doubt difficult—hunt, I too would feel up to a little celebration before the trip home.  

If you enjoyed Niviaksiak’s artworks, you might also like work by Victor Ekootak (1916–65), who was based in Ulukhaqtuuq, Inuvialuit Settlement Region, NT; Davidialuk Alasua Amittu (1910–76), who was based in Puvirnituq, Nunavik, QC; and Mary Pudlat (1923–2001), who was also based in Kinngait.




This Artist Spotlight originally appeared in the September 2025 Inuit Art Quarterly newsletter. Sign up for the newsletter here and be the first to receive new spotlights!

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