One of the best parts of my job at the IAQ is that I get to constantly learn about artists and look at art in so many different mediums. I started off the year by looking at sculptures by artist Ennutsiak (1896–1967). Originally from Nunavik, Ennutsiak travelled around the Qikiqtaaluk (Baffin Island), NU, and eventually settled in Iqaluit, NU. His work often depicts scenes of everyday Inuit life, with an emphasis on community and the ways the world was changing around him due to colonialism and the introduction of Christianity. I’m particularly drawn to the following sculptures, which highlight domestic life and the connections between people.
Ennutsiak Leap Frog (c. 1955) StoneCOURTESY WADDINGTON’S AUCTIONEERS AND APPRAISERS, TORONTO © THE ARTIST
I love the playfulness Ennutsiak depicts in Leap Frog (c. 1955). Games, play and shared activities are an important part of community life, and Ennutsiak’s sculpture highlights this. The person jumping looks so graceful—legs perfectly spread, effortlessly leaping over the person bent down below. When I look at this piece, I feel as if someone has pressed pause, temporarily freezing the people in action, and I half expect them to start moving again at any moment.
Ennutsiak Igloo Interior (1963) Stone and ivoryCOURTESY WADDINGTON’S AUCTIONEERS AND APPRAISERS, TORONTO © THE ARTIST
I’m always interested in seeing art depicting interiors, getting a glimpse into how people live and function in their spaces, so I was immediately drawn to Igloo Interior (1963). It’s rare to see sculptures that don’t include depictions of humans and animals, and particularly rare for a piece by Ennutsiak, who tends to show multiple people in each work. Yet the way this igloo is presented, as a cross-section view of the interior, complete with a tiny table, makes the piece feel intimate and cozy. Though the igloo is empty, I feel as if Ennutsiak is inviting us inside.
Ennutsiak Birthing Scene (c. 1960) StoneCOURTESY INUIT ART FOUNDATION © THE ARTIST
One of my favourite sculptures by Ennutsiak is Birthing Scene (c. 1960) because it shows one of the most intimate and challenging moments in a person’s life. Ennutsiak also seems to have felt this was an important life event to represent in his artwork, as this is just one of several sculptures depicting childbirth. I feel like in each one, you see a different aspect of the experience. Here, the faces of the women in the sculpture are left mostly undetailed, but you can tell by their positions—surrounding the woman giving birth, holding her hands and tilting their heads toward her—that they are providing incredible support. I appreciate the detail Ennutsiak put into sculpting the folds of the women’s amautit and their hair, which, to me, indicates care in his sculpting. It gives us a brief look into the close-knit community of women.
If you enjoyed looking at Ennutsiak’s work, you might also enjoy sculptures by Omalluq Oshutsiaq, from Kinngait, NU; Jaco Ishulutaq, from Panniqtuuq, NU; or Charlie Sivuarapik, from Puvirnituq, Nunavik, QC.
This Artist Spotlight originally appeared in the January 2026 Inuit Art Quarterly newsletter. Sign up for the newsletter here and be the first to receive new spotlights!