Stories in Stone
ᐅᓂᒃᑳᑦ ᐅᔭᖅᑲᓃᑦᑐᑦ
Inuit sculptures in steatite, bone, and terra cotta.
ᐃᓄᐃᑦ ᓴᓇᙳᐊᒐᖏᑦ ᓴᓇᙳᐊᒐᒃᓴᓂᒃ, ᓴᐅᓂᕐᓂᒃ, ᐊᒻᒪᓗ ᓄᓇᒥᙶᖅᑐᓂᒃ.
Inuit artists have been producing works of art by filing, chiseling, scraping, shaping, and drilling a variety of materials for thousands of years. The sculptures in the holdings of the Art Gallery of Sudbury | Galerie d’art de Sudbury demonstrate each artist’s ability to work in a wide range of media including bone, ivory, antler, steatite (soapstone), and terra cotta. Each sculpture conveys a unique story about the artist’s life, the world around them, and the world beyond. Some of the first LUMAC Collection acquisitions were Inuit sculptures purchased in the 1970s.
ᐃᓄᐃᑦ ᑎᑎᕐᑐᒐᖅᑏᑦ ᓴᖅᑭᑎᑦᑎᖃᑦᑕᖅᓯᒪᔪᑦ ᑎᑎᕐᑐᒐᓂᒃ ᐊᒋᐊᖅᖢᒋᑦ, ᐃᓗᑦᑐᖅᖢᒋᑦ, ᖃᐃᖅᑲᒃᓴᖅᖢᒋᑦ, ᓴᖅᑭᑎᑉᐸᓪᓕᐊᓪᓗᒋ, ᐊᒻᒪᓗ ᐃᑰᑕᖅᖢᒋ ᓱᓇᒃᑯᑖ ᐊᕐᕌᒍᓄᑦ ᐅᓄᖅᑐᐊᓗᖕᓄ. ᓴᓇᙳᐊᒐᐃᑦ ᐱᓯᒪᔭᐅᔪᑦ ᓴᓇᖕᖑᐊᖅᓯᒪᔪᓂᒃ ᑕᑯᔭᒐᖃᕐᕕᒃ ᓴᑦᐳᓕᒥᑦ ᑕᑯᑎᑦᑎᔪᖅ ᐊᑐᓂ ᑎᑎᕐᑐᒐᖅᑎᐅᑉ ᐱᔪᓐᓇᕐᓂᖏᓐᓂ ᓴᓇᓂᕐᒥ ᐊᔾᔨᒌᖏᑦᑐᓂᒃ ᐊᖅᑯᑕᐅᔪᓂᒃ ᐃᓚᖃᖅᖢᓂ ᓴᐅᓂᕐᓂ, ᑑᒑᓂᒃ, ᓇᒡᔪᖕᓂ, ᓴᓇᙳᐊᒐᒃᓴᓂᒃ, ᐊᒻᒪᓗ ᓄᓇᒥᙶᖅᑐᓂᒃ. ᐊᑐᓂ ᓴᓇᙳᐊᒐᖅ ᑕᑯᑎᑦᑎᔪᖅ ᐊᔾᔨᐅᖏᑦᑐᒥᒃ ᐅᓂᒃᑳᒥᒃ ᑎᑎᕐᑐᒐᖅᑐᐅᑉ ᐃᓅᓯᖓᓂᒃ, ᓄᓇᕐᔪᐊᖅ ᐊᕙᓗᐊᓃᑦᑐᒥᒃ, ᐊᒻᒪᓗ ᓄᓇᕐᔪᐊᑉ ᐅᖓᑖᓃᑦᑐᓂᒃ. ᐃᓚᖏᑦ ᓯᕗᓪᓕᖅᐹᖑᔪᑦ ᓗᕋᓐᓯᐊᓐ ᓯᓚᑦᑐᖅᓴᕐᕕᐊᓗᒃᒥᑦ ᑕᑯᔭᒐᖃᕐᕕᒃᒥ ᐊᒻᒪᓗ ᓴᓇᐅᒐᓕᕆᕝᕕᒃᒥ (LUMAC) ᓄᐊᑕᐅᔪᓂᒃ ᐱᔭᐅᔪᕕᓂᕐᓂ ᐅᑯᐊᖑᔪᑦ ᐃᓄᐃᑦ ᓴᓇᙳᐊᖅᑕᖏᑦ ᓂᐅᕕᖅᑕᐅᓪᓗᑎᒃ 1970 ᐃᓗᐊᓂ.
One of the narratives represented in this collection of sculptures is the catching and processing of seals. The story begins in Jacob Kuluguqtuq’s Seal Hunter, where a figure is depicted actively pulling a seal out of the water.
ᐊᑕᐅᓯᖅ ᐅᓂᒃᑳᖅᑐᐊᖑᔪᖅ ᑭᒡᒐᖅᑐᐃᔪᖅ ᑖᒃᑯᓂᖓ ᓄᐊᑕᐅᔪᓂᒃ ᓴᓇᙳᐊᒐᓂᒃ ᑕᑯᑎᑦᑎᔪᖅ ᓇᑦᑎᕐᓂᕐᒥᒃ ᐊᒻᒪᓗ ᐱᓚᒃᑐᐃᓂᖓᓂ. ᐅᓂᒃᑳᖅ ᐱᒋᐊᖅᑐᖅ ᔭᐃᑯᐱ ᑯᓗᒍᖅᑑᑉ ᓇᑦᑎᐸᓱᐋᖅᑎ, ᑎᑎᕋᐅᔭᖅᓯᒪᔪᖅ ᑕᑯᑎᑦᑎᓪᓗᓂ ᓇᑦᑎᕐᒥ ᖃᑭᑎᑦᑎᓪᓗᓂ ᐃᒪᕐᒥᒃ.
Jacob Kuluguqtuq, Seal Hunter, 1969. Steatite sculpture. LUMAC Collection, Art Gallery of Sudbury | Galerie d’art de Sudbury.
ᔭᐃᑯᐱ ᑯᓗᒍᖅᑐᖅ, ᓇᑦᑎᐸᓱᐋᖅᑎ, 1969. ᓴᓇᙳᐊᒐᒃᓴᖅ ᑕᐅᑦᑐᓕᐅᖅᓯᒪᔪᖅ. ᓗᕋᓐᓯᐊᓐ ᓯᓚᑦᑐᖅᓴᕐᕕᐊᓗᒃᒥᑦ ᑕᑯᔭᒐᖃᕐᕕᒃᒥ ᐊᒻᒪᓗ ᓴᓇᐅᒐᓕᕆᕝᕕᒃᒥ ᓄᐊᓯᒪᔭᖏᑦ, ᓴᓇᖕᖑᐊᖅᓯᒪᔪᓂᒃ ᑕᑯᔭᒐᖃᕐᕕᒃ ᓴᑦᐳᓕ.
In Therese Paolak Tugumiar’s Scraping Skins, a figure is shown beginning the processing of the animals into usable materials by scraping away the layers of blubber. After these layers have been removed from the skins they are soaked, washed, and dried for use in clothing, building or covering the frames of boats.
ᑐᕋᓯ ᐸᐅᓚᒃ ᑐᒍᒥᐊᑉ ᒪᔾᔭᒃᑐᖅ−ᒥ, ᑎᑎᕋᐅᔭᖅᓯᒪᔪᖅ ᑕᑯᑎᑦᑎᔪᖅ ᓂᕐᔪᑎᒥᒃ ᐱᓚᒃᑐᐃᓂᐅᑉ ᐱᒋᐊᕐᓂᖓᓂ ᓱᓇᒃᑯᑖᓂᒃ ᐊᑐᖅᑕᐅᔪᓐᓇᖅᑐᓂᒃ ᓴᖅᑭᑎᑦᑎᔪᓂᒃ ᐅᖅᓱᐃᔭᐃᑎᓪᓗᒍ. ᑖᒃᑯᐊ ᐅᖅᓱᐃᔭᖅᑕᐅᓚᐅᖅᑎᓪᓗᒋ ᐊᒥᖓ ᐲᖅᑕᐅᓪᓗᓂ, ᐃᔅᓴᒃᑎᑕᐅᓪᓗᓂ, ᐅᐊᓴᖅᑕᐅᓪᓗᓂ, ᐊᒻᒪᓗ ᐸᓂᖅᓯᖅᑕᐅᓪᓗᓂ ᐊᓐᓄᕌᓄᑦ, ᐃᒡᓗᓄᑦ ᐅᕝᕙᓘᓐᓃᑦ ᖄᒃᓴᓄᑦ ᐅᒥᐊᕐᒧᑦ ᐊᑐᖅᑕᐅᔪᒃᓴᓂᒃ.
Therese Paolak Tugumiar, Scraping Skins, 1970. Steatite and bone sculpture. LUMAC Collection, Art Gallery of Sudbury | Galerie d’art de Sudbury.
ᑐᕋᓯ ᐸᐅᓚᒃ ᑐᒍᒥᐊᕐ, ᒪᔾᔭᒃᑐᖅ, 1970. ᓴᓇᙳᐊᒐᒃᓴᖅ ᐊᒻᒪᓗ ᓴᐅᓂᖅ ᑕᐅᑦᑐᓕᐅᖅᓯᒪᔪᖅ. ᓗᕋᓐᓯᐊᓐ ᓯᓚᑦᑐᖅᓴᕐᕕᐊᓗᒃᒥᑦ ᑕᑯᔭᒐᖃᕐᕕᒃᒥ ᐊᒻᒪᓗ ᓴᓇᐅᒐᓕᕆᕝᕕᒃᒥ ᓄᐊᓯᒪᔭᖏᑦ, ᓴᓇᖕᖑᐊᖅᓯᒪᔪᓂᒃ ᑕᑯᔭᒐᖃᕐᕕᒃ ᓴᑦᐳᓕ.
Alice Utakralak Nanorak, Woman Tending Fire, 1970. Steatite and bone sculpture. LUMAC Collection, Art Gallery of Sudbury | Galerie d’art de Sudbury.
ᐋᓚᓯ ᐅᑕᒃᕋᓚᖅ ᓇᓄᕋᒃ, ᐊᕐᓇᖅ ᐃᑯᒻᒪᒃᓴᖅᑐᖅ, 1970. ᓴᓇᙳᐊᒐᒃᓴᖅ ᐊᒻᒪᓗ ᓴᐅᓂᖅ ᑕᐅᑦᑐᓕᐅᖅᓯᒪᔪᖅ. ᓗᕋᓐᓯᐊᓐ ᓯᓚᑦᑐᖅᓴᕐᕕᐊᓗᒃᒥᑦ ᑕᑯᔭᒐᖃᕐᕕᒃᒥ ᐊᒻᒪᓗ ᓴᓇᐅᒐᓕᕆᕝᕕᒃᒥ ᓄᐊᓯᒪᔭᖏᑦ, ᓴᓇᖕᖑᐊᖅᓯᒪᔪᓂᒃ ᑕᑯᔭᒐᖃᕐᕕᒃ ᓴᑦᐳᓕ.
In Alice Utakralak Nanorak’s Woman Tending Fire, a female kneels over a qulliq, a lamp carved from soapstone. These lamps are fueled by oil rendered from the blubber of seals and were traditionally used for heating and cooking without requiring wood.
ᐋᓚᓯ ᐅᑕᒃᕋᓚᖅ ᓇᓄᕋᐅᑉ ᐊᕐᓇᖅ ᐃᑯᒻᒪᒃᓴᖅᑐᖅ, ᐊᕐᓇᖅ ᒦᖅᑯᖅᑐᖅ ᖁᓪᓕᕐᒧᑦ, ᖁᓪᓕᖅ ᓴᓇᙳᐊᖅᓯᒪᔪᒧ. ᑖᒃᑯᐊ ᖁᓪᓖᑦ ᐅᖅᓴᒃᑕᐅᓯᒪᔪᑦ ᐅᖅᓱᕐᒧ ᓇᑦᑎᕐᒥᙶᖅᑐᓂᒃ ᐊᒻᒪᓗ ᐱᖅᑯᓯᑐᖃᒃᑯᑦ ᐊᑐᖅᑕᐅᓯᒪᓪᓗᑎᒃ ᐅᖅᑰᓴᐅᑕᐅᓪᓗᑎᒃ ᐊᒻᒪᓗ ᓂᖅᖠᐅᕈᑕᐅᓪᓗᑎᒃ ᕿᔪᖕᒥᒃ ᐊᑐᖏᒃᑲᓗᐊᖅᖢᑎᒃ.
Timothy Jar, Whale, 1969. Ivory sculpture. LUMAC Collection, Art Gallery of Sudbury | Galerie d’art de Sudbury.
ᑎᒧᑎ ᔮᕐ, ᕿᓚᓗᒐᖅ, 1969. ᑑᒐᖅ ᑕᐅᑦᑐᓕᐅᖅᓯᒪᔪᖅ. ᓗᕋᓐᓯᐊᓐ ᓯᓚᑦᑐᖅᓴᕐᕕᐊᓗᒃᒥᑦ ᑕᑯᔭᒐᖃᕐᕕᒃᒥ ᐊᒻᒪᓗ ᓴᓇᐅᒐᓕᕆᕝᕕᒃᒥ ᓄᐊᓯᒪᔭᖏᑦ, ᓴᓇᖕᖑᐊᖅᓯᒪᔪᓂᒃ ᑕᑯᔭᒐᖃᕐᕕᒃ ᓴᑦᐳᓕ.
The sculptures representing animals in the collection rely as much on materiality as they do on artistic talent to convey the essence of the creatures. For example, the smooth, white texture as well as the bigger length to width ratio of walrus ivory provides a perfect substrate to illustrate the graceful swimming of a beluga in Timothy Jar’s Whale. In the same vein, the thin white incised lines contrasting with the dark steatite bring the plumage of both Lucassie Takatak’s Loon, and Samwillie Iqaluq’s Waterfowl to life.
ᓴᓇᙳᐊᒐᐃᑦ ᑭᒡᒐᖅᑐᐃᔪᑦ ᓂᕐᔪᑎᓂᒃ ᓄᐊᑕᐅᓯᒪᔪᓂᒃ ᑕᑎᖃᖅᑐᑦ ᓱᓇᒃᑯᑖᒐᓚᖕᓂ ᑎᑎᕐᑐᒐᖅᑏᑦ ᐱᔪᓐᓇᕐᓂᖓ ᒪᓕᒃᖢᒍ ᑭᓱᙳᐊᖑᓂᖏᓐᓂᒃ ᑕᑯᑎᑦᑎᔪᓂᒃ. ᓲᕐᓗ, ᖃᐃᕋᑦᑐᖅ, ᖃᑯᖅᑕᒥᒃ ᐊᒥᐊᖃᖅᖢᓂ ᐊᒻᒪᑦᑕᐅᖅ ᐊᖏᓂᖅᓴᐅᓪᓗᓂ ᐊᐃᕕᐅᑉ ᑐᒑᖏᑕ ᐃᔾᔪᓂᖓᓂ ᐊᑐᐃᓐᓇᐅᑎᑦᑎᔪᖅ ᐊᖅᑯᑕᐅᔪᒥᒃ ᑕᑯᑎᑦᑎᖁᓪᓗᒍ ᐳᐃᔾᔪᕌᑦᑎᐊᖅᑐᒥᒃ ᕿᓚᓗᒐᕐᒥᒃ ᑎᒧᑎ ᔮᕐ ᕿᓚᓗᒐᖅ ᓴᓇᙳᐊᒐᖓᓂᒃ.ᑕᕝᕙᓂᑦᑕᐃᓐᓇᖅ, ᑐᐊᑦᑐᑦ ᐃᓗᑦᑐᖅᓯᒪᔪᑦ ᑐᑭᓕᐊᖅᑐᑦ ᑭᒡᓗᖔᖓᓃᑦᑐᑦ ᓴᓇᙳᐊᒐᒃᓴᐅᑉ ᕿᕐᓇᕆᖕᓂᖓᓂ ᐱᐅᓯᑎᑦᑎᓪᓗᓂ ᑕᒪᐃᓐᓂ ᓗᑲᔅᓯ ᑕᑲᑕᐅᑉ ᖃᒡᓗᓕᒃ, ᐊᒻᒪᓗ ᓴᒻᐅᐃᓕ ᐃᖃᓘᑉ ᐃᒫᐅᑉ ᑎᖕᒥᐋᖓ ᐃᓅᓯᖓᓂ.
Samwillie Iqaluq, Waterfowl, undated. Steatite sculpture. LUMAC Collection, Art Gallery of Sudbury | Galerie d’art de Sudbury.
ᓴᒻᐅᐃᓕ ᐃᖃᓗᖅ, ᐃᒫᐅᑉ ᑎᖕᒥᐋᖓ, ᐅᓪᓗᓕᖅᑕᐅᓯᒪᖏᑦᑐᑦ. ᓴᓇᙳᐊᒐᒃᓴᖅ ᑕᐅᑦᑐᓕᐅᖅᓯᒪᔪᖅ. ᓗᕋᓐᓯᐊᓐ ᓯᓚᑦᑐᖅᓴᕐᕕᐊᓗᒃᒥᑦ ᑕᑯᔭᒐᖃᕐᕕᒃᒥ ᐊᒻᒪᓗ ᓴᓇᐅᒐᓕᕆᕝᕕᒃᒥ ᓄᐊᓯᒪᔭᖏᑦ, ᓴᓇᖕᖑᐊᖅᓯᒪᔪᓂᒃ ᑕᑯᔭᒐᖃᕐᕕᒃ ᓴᑦᐳᓕ.
Lucassie Takatak, Loon, undated. Steatite sculpture. LUMAC Collection, Art Gallery of Sudbury | Galerie d’art de Sudbury.
ᓗᑲᔅᓯ ᑕᑲᑕᒃ, ᖃᒡᓗᓕᒃ, ᐅᓪᓗᓕᖅᑕᐅᓯᒪᖏᑦᑐᑦ. ᓴᓇᙳᐊᒐᒃᓴᖅ ᑕᐅᑦᑐᓕᐅᖅᓯᒪᔪᖅ. ᓗᕋᓐᓯᐊᓐ ᓯᓚᑦᑐᖅᓴᕐᕕᐊᓗᒃᒥᑦ ᑕᑯᔭᒐᖃᕐᕕᒃᒥ ᐊᒻᒪᓗ ᓴᓇᐅᒐᓕᕆᕝᕕᒃᒥ ᓄᐊᓯᒪᔭᖏᑦ, ᓴᓇᖕᖑᐊᖅᓯᒪᔪᓂᒃ ᑕᑯᔭᒐᖃᕐᕕᒃ ᓴᑦᐳᓕ.
There is no record of the inspiration for Josee Kullualik’s Spirit sculpture, but the choice of material gives the work an added layer of intrigue. The sculpture is made of a large vertebra and utilizes the processes (where muscles attach) as legs for the piece to stand on. The body of the vertebrae is carved on either side with two faces, one with a sad expression and one with an angry scowl with either whiskers or possibly face tattoos.
ᑎᑎᕋᖅᓯᒪᔪᖃᖏᑦᑐᖅ ᔪᓯ ᑯᓪᓗᐊᓕᐅᑉ ᑑᕐᖓᖅ ᓴᓇᙳᐊᒐᖏᓐᓂᒃ, ᑭᓯᐊᓂ ᓱᓇᒃᑯᑖᑦ ᓂᕈᐊᖅᑕᖏᓐᓂᒃ ᓴᓇᔭᖏᑦ ᐃᓚᓯᔪᑦ ᑲᒪᓇᖅᑐᒃᑲᓐᓂᕐᒥ ᐃᓗᓕᖃᖅᑐᒥᒃ. ᓴᓇᙳᐊᒐᖅ ᓴᓇᓯᒪᔪᖅ ᐊᖏᔪᒥᒃ ᕿᒥᕐᓗᒥᒃ ᐊᒻᒪᓗ ᐊᑐᖅᖢᓂ ᐃᓗᑐᓂᐅᔪᓂᒃ (ᓄᑭᖏᓐᓂᒃ ᑲᑎᕝᕕᐅᔪᓂᒃ) ᓂᐅᙳᐊᖑᓪᓗᑎᒃ ᓴᓇᖑᐊᒐᖅ ᒪᑭᑕᔪᓐᓇᖁᓪᓗᒍ. ᕿᒥᕐᓘᑉ ᑎᒥᖓᑕ ᒪᕐᕉᒃ ᓴᓂᕌᓃᑦᑐᑦ ᓴᓇᙳᐊᖅᓯᒪᔪᑦ ᑮᓇᙳᐊᖃᖅᑐᓂᒃ, ᐊᑕᐅᓯᖅ ᓄᒫᓱᙳᐊᖅᖢᓂ ᐊᒻᒪᓗ ᐊᖏᑉᐸᖓ ᓂᙳᐅᒪᙳᐊᖅᖢᓂ ᐅᒥᖃᙳᐊᖅᖢᑎᒃ ᐅᕝᕙᓘᓐᓃᑦ ᑕᓪᓗᕈᑎᓂᒃ.
Josee Kullualik, Spirit, 1969. Whale bone sculpture. LUMAC Collection, Art Gallery of Sudbury | Galerie d’art de Sudbury.
ᔪᓯ ᑯᓪᓗᐊᓕᒃ, ᑑᕐᖓᖅ, 1969. ᐊᕐᕕᐅᑉ ᓴᐅᓂᖓ ᑕᐅᑦᑐᓕᐅᖅᓯᒪᔪᖅ. ᓗᕋᓐᓯᐊᓐ ᓯᓚᑦᑐᖅᓴᕐᕕᐊᓗᒃᒥᑦ ᑕᑯᔭᒐᖃᕐᕕᒃᒥ ᐊᒻᒪᓗ ᓴᓇᐅᒐᓕᕆᕝᕕᒃᒥ ᓄᐊᓯᒪᔭᖏᑦ, ᓴᓇᖕᖑᐊᖅᓯᒪᔪᓂᒃ ᑕᑯᔭᒐᖃᕐᕕᒃ ᓴᑦᐳᓕ.
While the face appears to be human, above the face, the bone appears to form two ears, similar to a bear’s. The relationship between these two faces is uncertain – while they could represent the same figure before and after a physical transformation, they could also represent a spiritual transformation, or possibly a spiritual blending of two different entities.
ᑮᓇᖓ ᐃᓅᖅᑰᔨᒐᓗᐊᖅᖢᓂ, ᑮᓇᐅᑉ ᖁᓛᓂ, ᓴᐅᓂᕐᒥᑦ ᐱᑕᖃᖅᑐᖅ ᓯᐅᑎᙳᐊᖑᓪᓗᑎᒃ, ᓇᓅᑉ ᓯᐅᑎᖏᓐᓂᒃ ᐊᔾᔨᖃᖅᑐᓂᒃ. ᑖᒃᑯᐊ ᖃᓄᖅ ᑮᓇᐃᑦ ᐃᓚᒌᖕᓂᖏ ᖃᐅᔨᒪᓇᖏᑦᑐᖅ – ᐊᑕᐅᓯᑦᑕᐃᓐᓇᒥᒃ ᑕᐅᑦᑐᕐᒥᒃ ᑭᒡᒐᖅᑐᐃᔪᓐᓇᖅᑐᑦ ᑕᐅᑦᑐᒃᑯᑦ ᐊᓯᔾᓯᖅᑳᖅᑎᓐᓇᒋ ᐊᒻᒪᓗ ᐊᓯᔾᔨᖅᓯᒪᓕᖅᑎᓪᓗᒋ, ᑭᒡᒐᖅᑐᐃᔪᓐᓇᕐᒥᔪᑦ ᑕᕐᓂᑎᒍᑦ ᐊᓯᔾᔨᕐᓂᕐᒥ, ᐅᕝᕙᓘᓐᓃᑦ ᐊᓂᕐᓂᕐᓗ ᑎᒥᒧ ᒪᕐᕉᒃ ᐃᓗᓕᖏᓐᓂᒃ.
Additional works by Inuit sculptors
Jaco Ishukutaq, Seal Spirit Monster, undated. Steatite sculpture. LUMAC Collection, Art Gallery of Sudbury | Galerie d’art de Sudbury.
ᔭᐃᑯ ᐃᓱᑯᑕᖅ, ᓇᑦᑎᖅ ᑑᕐᖓᖅ, ᐅᓪᓗᓕᖅᑕᐅᓯᒪᖏᑦᑐᑦ. ᓴᓇᙳᐊᒐᒃᓴᖅ ᑕᐅᑦᑐᓕᐅᖅᓯᒪᔪᖅ. ᓗᕋᓐᓯᐊᓐ ᓯᓚᑦᑐᖅᓴᕐᕕᐊᓗᒃᒥᑦ ᑕᑯᔭᒐᖃᕐᕕᒃᒥ ᐊᒻᒪᓗ ᓴᓇᐅᒐᓕᕆᕝᕕᒃᒥ ᓄᐊᓯᒪᔭᖏᑦ, ᓴᓇᖕᖑᐊᖅᓯᒪᔪᓂᒃ ᑕᑯᔭᒐᖃᕐᕕᒃ ᓴᑦᐳᓕ.
Philip Hakuluk, Bust, 1969. Terra cotta sculpture. LUMAC Collection, Art Gallery of Sudbury | Galerie d’art de Sudbury.
ᐱᓕᐳᓯ ᕼᑯᓗᒃ, ᖃᑎᒐᖓᓂᐅᒋᐋᓕᖅᓯᒪᔪᖅ, 1969. ᒪᕐᕋᕋᔭ ᑕᐅᑦᑐᓕᐅᖅᓯᒪᔪᖅ. ᓗᕋᓐᓯᐊᓐ ᓯᓚᑦᑐᖅᓴᕐᕕᐊᓗᒃᒥᑦ ᑕᑯᔭᒐᖃᕐᕕᒃᒥ ᐊᒻᒪᓗ ᓴᓇᐅᒐᓕᕆᕝᕕᒃᒥ ᓄᐊᓯᒪᔭᖏᑦ, ᓴᓇᖕᖑᐊᖅᓯᒪᔪᓂᒃ ᑕᑯᔭᒐᖃᕐᕕᒃ ᓴᑦᐳᓕ.
Irene Kataq Angutitok, Jigging for Fish, 1969. Steatite, bone and ivory sculpture. LUMAC Collection, Art Gallery of Sudbury | Galerie d’art de Sudbury.
ᐃᕆᓂ ᑲᑕᖅ ᐊᖑᑎᑐᒃ, ᐊᐅᓚᓴᖅᑐᖅ ᐃᖃᓗᒐᓱᐋᖅᖢᓂ, 1969. ᓴᓇᙳᐊᒐᒃᓴᖅ, ᓴᐅᓂᖅ ᐊᒻᒪᓗ ᑑᒐᖅ ᑕᐅᑦᑐᓕᐅᖅᓯᒪᔪᖅ. ᓗᕋᓐᓯᐊᓐ ᓯᓚᑦᑐᖅᓴᕐᕕᐊᓗᒃᒥᑦ ᑕᑯᔭᒐᖃᕐᕕᒃᒥ ᐊᒻᒪᓗ ᓴᓇᐅᒐᓕᕆᕝᕕᒃᒥ ᓄᐊᓯᒪᔭᖏᑦ, ᓴᓇᖕᖑᐊᖅᓯᒪᔪᓂᒃ ᑕᑯᔭᒐᖃᕐᕕᒃ ᓴᑦᐳᓕ.
Eugenie Tautoonie Kabluitok, Owl, undated. Terra cotta sculpture. LUMAC Collection, Art Gallery of Sudbury | Galerie d’art de Sudbury.
ᐃᐅᒋᓂ ᑕᐅᑑᓂ ᖃᑉᓗᐃᑐᖅ, ᐅᒃᐱᒃᔪᐊᖅ, ᐅᓪᓗᓕᖅᑕᐅᓯᒪᖏᑦᑐᑦ. ᒪᕐᕋᕋᔭ ᑕᐅᑦᑐᓕᐅᖅᓯᒪᔪᖅ. ᓗᕋᓐᓯᐊᓐ ᓯᓚᑦᑐᖅᓴᕐᕕᐊᓗᒃᒥᑦ ᑕᑯᔭᒐᖃᕐᕕᒃᒥ ᐊᒻᒪᓗ ᓴᓇᐅᒐᓕᕆᕝᕕᒃᒥ ᓄᐊᓯᒪᔭᖏᑦ, ᓴᓇᖕᖑᐊᖅᓯᒪᔪᓂᒃ ᑕᑯᔭᒐᖃᕐᕕᒃ ᓴᑦᐳᓕ.
Mathew Akkaralak, Incised Antler, 1966. Bone. LUMAC Collection, Art Gallery of Sudbury | Galerie d’art de Sudbury.
ᒫᑎᐅ ᐊᒃᑲᕋᓚᒃ, ᑭᓪᓗᖅᓯᒪᔪᖅ ᓇᒡᔪ, 1966. ᓴᐅᓂᖅ. ᓗᕋᓐᓯᐊᓐ ᓯᓚᑦᑐᖅᓴᕐᕕᐊᓗᒃᒥᑦ ᑕᑯᔭᒐᖃᕐᕕᒃᒥ ᐊᒻᒪᓗ ᓴᓇᐅᒐᓕᕆᕝᕕᒃᒥ ᓄᐊᓯᒪᔭᖏᑦ, ᓴᓇᖕᖑᐊᖅᓯᒪᔪᓂᒃ ᑕᑯᔭᒐᖃᕐᕕᒃ ᓴᑦᐳᓕ.
Joseph Angatajuak, Head, 1969. Terra cotta sculpture. LUMAC Collection, Art Gallery of Sudbury | Galerie d’art de Sudbury.
ᔪᓯᐱ ᐊᖓᑕᔪᐊᒃ, ᓂᐋᖁᒃ, 1969. ᒪᕐᕋᕋᔭ ᑕᐅᑦᑐᓕᐅᖅᓯᒪᔪᖅ. ᓗᕋᓐᓯᐊᓐ ᓯᓚᑦᑐᖅᓴᕐᕕᐊᓗᒃᒥᑦ ᑕᑯᔭᒐᖃᕐᕕᒃᒥ ᐊᒻᒪᓗ ᓴᓇᐅᒐᓕᕆᕝᕕᒃᒥ ᓄᐊᓯᒪᔭᖏᑦ, ᓴᓇᖕᖑᐊᖅᓯᒪᔪᓂᒃ ᑕᑯᔭᒐᖃᕐᕕᒃ ᓴᑦᐳᓕ.
Text by Ally Zmijowskyj Carlos in consultation with Deanna Nebenionquit
ᑎᑎᕋᖅᑕᐅᔪᖅ ᐋᓕ ᔨᒧᔨᔅᑭᔾ ᑲᐅᓘᔅᓱ ᐅᖃᖃᑎᖃᖅᖢᓂ ᑎᐊᓇ ᓂᐸᓂᐅᑯᐃᑦᒥ
