Maslak McLeod Gallery - Portable Masterworks Vol. 2 - Making Memory

Introduction The Inuit command a huge natural breadth of land. Theirs is a culture that grew in virtual isolation. It is not surprising that in a land cut off from the rest of civilization, where even contact with other Native People from the south was rare, a completely original body of work was produced which rivals the artistic output of any culture. We became aware of Inuit art when a European sailor brought back an ivory harpoon head carved and decorated with unknown designs. We became aware of Inuit art when James Houston received a small ivory bear as a gift from Henry Evaluardjuk. Houston thought it was an ancient burial artifact but was told it had been carved the night before from the tusk of a walrus. The Inuit had already established their artistic direction without our influence. Art began for the Inuit without our notice. It began with family stories: repetition of song and dance, drumming, games, small realnesses carved by hunters waiting out on the land for the bear to give itself up for the sustenance and warmth of his human brother. We like to think that Inuit art began when we noticed it and that it blossomed under our gaze. As with most European discoveries, we began by comparing it with our own and we questioned it's purity within the context of our own aesthetic twists. The concern of art versus the design and decoration of utilitarian or spiritual objects is embodied in the work of the Inuit. Our tendency is to relegate the latter to anthropology. Macintosh designed and built furniture that can be seen in The Museum Of Modern Art in New York. Modigliani painted portraits for food and wine, as did Norval Morrisseau. Kaka Ashoona sent his carvings south for cash. Each of these people created art. Artists were, and are recognized within Inuit communities. In that difficult world of constant natural threat, the artists produced not European derivative art, but art nonetheless. Art functioned in their society like breathing, playing or praying. They did not speak of realism, mythology nor the importance of negative space. They did not use terms like romanticism, minimalism, primitivism or cubism but it is all there in their work - their art. Kers McLeod cover: Peter Sevoga: ( 1940 - ) Mother and Child Basalt, cm 13 / 12 / 10        We have had a great response to our Catalogue Exhibitions so contact us to ensure availablity of the pieces for your collection. Please contact the gallery for the prices of the carvings posted here.

David Ruben Piqtoukun: ( 1950 - ) Paulatuk Transitional Bear Steatite cm 15 / 22 / 06 The body of the Shaman is not lost in the body of the bear. Truly transionalional. Represented: The Nation Gallery of China.
Josephie Aculiak: ( 1910 - 1968 ) Port Harrison Hunter and Bear Fighting over Seal Basalt / Ivory cm 12 / 18 / 08 Great execution in form with details of ivory inset teeth and spear. Represented: Bessie Bulman Collection, Winnipeg Art Gallery.
Thomasie Kudluk: ( 1910 - D ) Arviat Man with Dog Basalt cm 17 / 08 / 07 Strange and totally fathomless. Kudluks enigma of a wraith like figure at work. Represented: The Museum of Civilization, Ottawa, Canada.
Kaka Ashoona: ( 1928 - D ) Cape Dorset Face with Hand Basalt cm 22 / 12 / 10 An exceptional composition of a women's shamanic transformation. Represented: Kroller Museum, Holland