Dancing Polar Bear
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- Additional Information
- Artist Bio
|Dimensions||7 x 3 x 3.5" (17.78 x 7.62 x 8.89cm)|
Padlaya Qiatsuq was born in 1965 in Cape Dorset and began carving around 1977. He learned to carve from his father, the well-known sculptor and printmaker, Lukta Qiatsuq. Padlaya works in soapstone and bone, and carves each sculpture with much attention to detail.
“I like to carve transformations. That’s one of my favourite [themes], and shamanism…when I do transformation or shamanism carvings, [I hope] the younger people will see the carving in a book or in a gallery. I want them to know that these traditions have to be carried out. How do I put this? They have to know that our ancestors had a hard time to live, to hunt. Sometimes they were starving. Those carvings are important to me and I want to show these younger people – and others – that this happened before.”
Excerpt from “Padlaya Qiatsuk: Encouraging Young Carvers to Persevere.” Matthew Fox. Inuit Art Quarterly, vol. 16, no. 1, Spring 2001 pg. 26-28.
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Thomas UgjukCA$7,175.00Basalt, Antler
“A remarkably animated work for the artist whose style is comparable to his father’s (John Kavik). In an interview with the artist in 1993, which appeared in the winter edition of the Inuit Art Quarterly, Ugjuk describes the difficulty he had in deciding what to carve. This may be why there are not many of his works available on the market. Both Kavik and Ugjuk were self-taught artists and took to carving whenever they were not hunting.”
“Ugluk says, ‘I would try to concentrate on an idea of mine and gradually expand on it as I went along which would lead to some comprehensible form for the carving I was working on. And, other times, it seemed that trying to stay with one idea didn’t always work so, rather than getting stuck with one idea, I would just work on a carving and what it would become’.”
Oviloo Tunnillie RCACA$10,945.00
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.
Colored pencil on Acid-free paper
Other works by this artist
Owl with Chicks
Padlaya QiatsuqCA$5,200.00Serpentine, Marble