Shaman
Availability: Only 1 available
CA$7,600.00
Only 1 available
Reserve this artworkReserve for Purchase
You may choose to reserve an item in consideration of purchase by clicking the "Reserve for Purchase" button (instead of Add to Shopping Cart). This allows you the opportunity to contact our gallery with any inquiries prior to purchase and it will ensure the item continues to be on hold while you are communicating with us.
If you should find an item already on "Reserve" that is of interest to you, please contact us directly at 604.684.9222 or [email protected] and we can provide you with the status of the piece and whether it will become available for purchase again, or if the sale is in progress with a buyer.
Layaway
One of life’s most rewarding experiences is collecting fine art, and sometimes it’s best to take a little more time to make these acquisitions with ease. We understand and want to do everything possible to make collecting your next artwork more comfortable. At Coastal Peoples Gallery, we offer an interest-free layaway program and offer flexible terms which can be customized to your individual needs.
- Description
- Additional Information
- Artist Bio
Serpentine, Bone
Dimensions | 15.5 x 14 x 6" (39.37 x 35.56 x 15.24cm) |
---|---|
Product Number | S-3734 |
Exhibition Code | SHAM20 |
![]() |
|
---|---|
Artist | Lukta Qiatsuk |
Nation | Cape Dorset |
Description | Cape Dorset (1928 – 2004) Beginning in the late 1950s, Lukta Qiatsuk has been regarded as an important artist within the Cape Dorset region. He was a well-respected artist for this work in sculpture and printmaking. Owls were a favourite subject for him and he drew upon the natural inspiration of wildlife as well as an interest in transformational figures. His sons Padlaya Qiatsuk and Pootgoogook Qiatsuk are both considered successful and innovative carvers themselves. Paunichea is his sister who is a recognized graphic artist as well as the mother of internationally-renowned carver Axangayu Shaa. Lukta’s father Kiakshuk was also an acclaimed artist and, during 1971-1973, both Lukta and his father had work featured in the travelling exhibition entitled “Sculpture/Inuit: Sculpture of the Inuit: Masterworks of the Canadian Arctic”. “Lukta has played an integral part in almost every print collection from the West Baffin Eskimo Co-op since its spectacular debut in 1959, through 1980. He also worked with Jim Houston on the early experiments in 1957-58. Not surprisingly, Lukta is a master printmaker and has tried his hand at almost every medium –stonecut, stencil, stonecut/ stencil, sealskin stencil, lino, stone rubbing and engraving, and is also a stone block cutter. He returned to the printshop to help out in 1983 abd 1984, producing 3 stonecut and stonecut/ stencil prints. Lukta is also an outstanding sculptor.” From Canadian Inuit Print Artist/ Printer Biographies, Compiled and edited by Sandra B. Barz
Collections: Agnes Etherington Art Centre. Queen’s University, Kingston, Ontario. Amon Carter Museum of Western Art. Fort Worth. Texas, USA. Art Gallery of Ontario, Toronto, Ontario. Art Gallery of York University, Downsview, Ontario. Canada Council Art Bank. Ottawa, Ontario. Canadian Guild of Crafts. Quebec, Montreal, Quebec. Canadian Museum of Civilization. Hull, Quebec. Firzgerald Collection, Whyte Museum of the Canadian Rockies. Banff, Alberta. GE Canada Inuit Art Collection. Mississauga, Ontario. Glenbow Museum. Calgary, Alberta. Inuit Cultural Institute. Rankin Inlet, Northwest Territories. Klamer Family Collection. Art Gallery of Ontario. Toronto, Ontario. Laurentian University Museum and Arts Centre. Sudbury, Ontario. London Regional Art Gallery. London, Ontario. McMaster University Art Gallery. Hamilton, Ontario. McMichael Canadian Art Collection. Kleinburg, Ontario. National Gallery of Canada.
|
you may also like
-
Sedna
Oviloo Tunnillie RCA
CA$10,945.00Serpentine
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.