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- Additional Information
- Artist Bio
|Dimensions||5.5 x 6 x 8.25"|
Pudlalik Shaa was born and raised in Cape Dorset. A self-taught carver, he started carving at twelve years old, learning mostly by watching his father Axangayuk Shaa, a renowned sculptor, “and other carvers who used to use an axe [when they carved].” Pudlalik’s parents, Axangayuk and Kilabuk Shaa, are Cape Dorset artists. Pudlalik’s brother Qiatsuq is also a carver, as was his brother Qavavau, who died in 1991.
After attending Arctic College in Lake Harbor, Pudlalik received a diploma for a carving course. Pudlalik remembers forming a carving group with other peers in his community, carving as a group and sharing tools. Also included in the group, were Pitseolak Oshutsiaq, Pallaya Qiatsuk and Kooyoo Pudlat. In 1989, he traveled south to Toronto with fellow Cape Dorset sculptor Ohito Ashoona for an exhibition opening. Afterwards, when asked what he thought of the south, he summated, “It was a big and polluted.”
Now the father of four children, Pudlalik carves at least every other day. Primarily, he works with stone and his sculptures average about fourteen inches high. His favorite subjects to carve are human figures such as drum dancers. Although he finds it hard to decide what to make before he begins to carve, Pudlalik admits, “Sometimes I know what I want to make immediately.”
Pudalik is especially conscious of form with his transformation pieces, which are composites of different animals combined with a human face or figure. Many of his birds and transformation figures are finely balanced on one leg.
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Coiled lime grass, Thread (coloured), Serpentine stone
The process of basket-making is long and arduous as it can take up to a month to weave a large basket. Baskets are made from repeatedly coiling the grass from the bottom of the basket and building the basket up. Designs are created by stitching thread onto the basket, however some designs are actually woven in. This thread can be made from a number of materials, such as de-haired sealskin, leather, and yarn.
As goddess of the ocean, Sedna sets strict rules about the proper way to treat the animals of the hunt, which the Inuit require for sustenance. This includes proper treatment of the animals’ spirit when killed for food. If she feels the rules have been broken, she cuts off the supply of food. When this happens, the Inuit tribal shaman is required to take a mystical journey to the bottom of the ocean to speak to the goddess. It is considered the most dangerous journey an Inuit shaman is called upon to make.
Upon arrival at the bottom of the sea the shaman is required to comb Sedna’s hair, because Sedna has no fingers to comb it herself, and to find out what the tribe has done wrong that the food has been cut off. The shaman then makes a deal with Sedna, promising that if the tribe corrects whatever transgressions it has made, the goddess will return their food supply. The shaman then returns to the tribe with the list of things the goddess requires to be done to get the food back.