ºÚÁϲ»´òìÈ

For more than three decades, Feheley Fine Arts has presented rare, early drawings by Inuit artists, including many early Kinngait works dating from 1959-1969, drawings that continue to be sought after by collectors. The West Baffin Eskimo Co-operative still owns the lion’s share of these early drawings – some 90,000 are now housed at the McMichael Canadian Art Collection and we are delighted to open our exhibition at Feheley Fine Arts on the occasion of the McMichael’s Worlds on Paper: Drawings from Kinngait. This superb exhibition, curated by Emily Laurent Henderson, the McMichael’s Associate Curator: Indigenous Art and Culture, is accompanied by a brilliant Inuit-lead catalogue covering the history of drawing in Kinngait, marking a new moment in the appreciation and understanding of this early period of art production in that storied community.

In the late 1950s, James Houston—and later, Terry Ryan—encouraged Inuit artists to explore drawing as a new artistic medium. Despite a history of graphic image making on skin bags and clothing, drawing on paper was virtually unknown. Many Inuit artists hailed from different outpost camps, resulting in an extraordinary outpouring of unique and exquisite graphite drawings. The subject matter across these works ranged from narrative scenes showing traditional life, to fantastical images of monsters and transformations. Many early drawings featured distinct approaches to storytelling and movement, exemplified by Papiara Tukiki’s COMPOSITION (ANIMAL TRANSFORMATIONS I) (c.1960). In this piece, figures interact dynamically through playing, fighting, or hunting while occupying the same visual space. This period was marked by early experimentation, pushing the boundaries of what could be represented on paper. One such innovation can be seen in Ishuhungitok Pootoogook’s COMPOSITION (MANY GEESE) (c. 1964), where he employs repeating stencils of a goose, creating a rhythmic composition reminiscent of traditional animation techniques.

By the mid 1960s, the introduction of wax crayons and coloured pencils sparked a transformation, shifting from monochromatic graphite works to technicolour compositions that offered artists greater creative freedom. Kenojuak Ashevak’s OWL TRANSFORMATION (c.1965) exemplifies this, echoing her stonecut compositions while simultaneously preserving the rougher pencil crayon edges of her hand—details that would have been refined, and omitted in the printing process.

Throughout the 1970’s, drawings were produced primarily for the printing process, and were not regarded as standalone works of fine art. With new technologies in printmaking being introduced to the studio, such as lithography, the focus had been shifted. The artists discovered a newfound freedom in printmaking, drawing directly onto stone and mylar and selecting a range of ink colours. Guest artist workshops at the studio would bring forth further artistic development, such as learning acrylic wash techniques from acclaimed Canadian impressionist painter, K.M Graham. Artists Pudlo Pudlat and Kingmeata Etidlooie would distinguish themselves by incorporating acrylic paint into their drawings. The result of this is a dreamlike, surrealist display of traditional life in the hamlet. Human figures are the same size as the buildings, while arctic seals bathe below an abstracted horned figure sitting among the stars. It was during this period that Pudlo Pudlat truly found his stride in drawing, becoming known for his depictions of helicopters and airplanes delivering cargo to Kinngait. His distinctive style, along with that of many artists of this era, became firmly established during this time.