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2004 Pangnirtung Community Print Collection

Foreword by Peter Wilson, General Manager

Uqqurmiut Centre for Arts & Crafts [2001-present]

 

 

Pangnirtung prints have always been known for the way in which they document the landscape of the Cumberland Sound area. The 2004 Pangnirtung Community Print Collection appears to be a veritable celebration of the local scenery, with approximately half the images depicting fairly readily identifiable locations.

In particular, imagery that utilizes the striking configuration of the nearby mountains that forms the gateway to Auyuittuq National Park, known as Pangnirtung Pass, is particularly plentiful this year and can be immediately recognized in a total of five prints incorporating various techniques. See, for example, Annie Qappik’s “The Grandeur of Pangnirtung Pass,” interpreted as a relief print by Leetia Alivaktuk. See also Andrew Qappik’s “Driving to Pangnirtung Pass,” which Andrew printed using the pochoir or stencil technique.

The balance of the images portray other aspects of life that Pangnirtung prints have come to be known for, with many paying homage to the indigenous wildlife. See Abigail Ootoova’s “Polar Bears at the Passage,” an etching that combines both wildlife and Pang Pass imagery. See also Alan Alikatuktuk’s “Night Flight,” a graphic tour de force as interpreted in relief by Geela Sowdluapik. See also Gyta Eeseemailie’s striking “Three Headed Bird of Prey,” a stencil printed by Enookie Akulukjuk.

Still other prints show us how life was lived around Pangnirtung in the “old days,” before modern conveniences and electronic distractions. See, for example, the splendid set-piece, “In the Winter Camp,” by Thomasie Alikatuktuk, masterfully interpreted as a stencil print by Josea Maniapik. See also, Elisapee Ishulutaq’s “Accordion Drum Dance,” also stencil printed by Josea Maniapik. Again see Lipa Pitsiulak’s “Mother’s Lesson,” printed as an etching by Jolly Atagooyuk. And, finally, see Noah Maniapik’s “Mamianaq,” in which a successful hunter offers reverence to the animals that sustain life in a harsh environment where survival is not a given.

This 2004 print collection also features the re-emergence of the process of lithographic printmaking. Here we see the first lithographs from Pangnirtung in ten years. Not since the old print shop was destroyed by fire in 1994, along with the litho press and other equipment, has lithography been practiced in Pangnirtung. Ame Papatsie makes his debut here using this technique. Ame’s graphic style appears to be well suited to the lithographic process, which in its simplest form involves drawing with a grease pencil directly onto a slab of limestone prior to printing. His “Drawn to the Qullik” is a vibrant lithograph that also employs ample hand-colouring techniques. In another example of lithographic printmaking, Tommy Angnakak’s “Celestial Dance” is a well-executed and playful rendition of two polar bears dancing under the Northern Lights.

In short, the 2004 Pangnirtung Community Print Collection has something for everyone. Here you will find the striking image, the unique artistic vision, the appealing style, the remarkable technique, and the haunting story – everything one might desire in an Inuit print or any other work of art. Yet there is something more. There is also that elusive and indefinable quality that every Pangnirtung artist is somehow able to convey, making each of the images in this collection an authentic “Pang” print and a record of the “Inuit way.”

Peter Wilson, General  Manager

Uqqurmiut Centre for Arts & Crafts

Pangnirtung, April 2004

 

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This page was last updated on Monday February 21, 2005