Availability: Only 1 available
Only 1 availableReserve this artwork
Reserve 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 firstname.lastname@example.org 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.
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.
- Additional Information
- Artist Bio
|Dimensions||7 x 15 x 5" (17.78 x 38.1 x 12.7cm)|
|Artist||Joanie (Joani) Ragee|
Born in 1986 in Cape Dorset, Joanie Ragee is a young. emerging sculptor whose father is Nowdlak Noah from Iqaluit. His biological brother is Siutiapiq Ragee, and uncles are Toonoo Sharky and Napachie Sharky.
Joanie began carving Inukshuks at the age of 12 and has since developed an affinity towards carving Serpentine animals. His favourite subject is the Polar Bear and imbues them with a sense of movement and humour.
you may also like
“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’.”
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.