Reference:

Reference: included on the Katilvik website, disc number E7-2074, community Iqaluit

Reference: included on the Katilvik website, disc number E2-465, community Baker Lake / Qamani'tuaq

Reference: included on the Katilvik website, disc number E5-1155, community Arctic Bay / Ikpiarjuk

Reference:

Reference: listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

listed on www.artprice.com

Reference: see Biographies of Inuit Artists, Vol.1, by Canadian Arctic Producers for biography;

included on the Katilvik website, disc number W2-494, community Holman / Ulukhaktok

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference:

Reference:

Reference: included on the Katilvik website, disc number E1-524, community Eskimo Point; listed on https://elcalondon.com//; https://marionscottgallery.com///; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: included on the Katilvik website, disc number E7-733, community Frobisher Bay / Iqaluit

Reference: included on the Katilvik website, disc number E7-2452, community Lake Harbour / Kimmirut

Reference: included on the Katilvik website, disc number E3-1049, community Eskimo Point; see George Arluk, by Canadian Arctic Producers, 1980; biography in Canadian Encyclopedia, pg.1-90, Hurtig Pub.; Sculpture of the Inuit, by G.Swinton, pg.250, McClelland Stewart, 1992; plus Shumiatcher Collection, Regina, Swinton Collection, Mulder Collection and Zazelenchuk Collection, Winnipeg; biography in Biographies of Inuit Artists, Vol.1, by Canadian Arctic Producers; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: included on the Katilvik website, disc number E5-472, community Iglulik; see Stories from Pangnirtung, by Stuart Hodgson,1976, Hurtig Publishers, Edmonton;Inuit Artist Index, by the Indian and Northern Affairs Canada, pg. 31, 1990; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: included on the Katilvik website, disc number E2-1892, community Baker Lake / Qamani'tuaq

Reference: listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: included on the Katilvik website, disc number E7-1037, community Cape Dorset; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website; listed on www.artprice.com

Reference: included on the Katilvik website, community Cape Dorset; see Kenojuak, Graphic Masterworks of the Inuit, by J.Blodgett, Mintmark Press, Toronto; biography and other examples in N.G.C. Vol.2, G-K, ed.P.Landry, pg.366; biography in Biographies of Inuit Artists, Vol.1, by Canadian Arctic Producers; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference:

Reference: see Biographies of Inuit Artists, by the Canadian Arctic Producers, 1984; other examples in Sculpture / Inuit, by the Canadian Eskimo Arts Council, pg.304, University of Toronto Press, 1971; Sculpture of the Inuit, by G.Swinton, pg.32, McClelland and Stewart, 1992; The First Passionate Collector, by D.Wight, pg.53, Winnipeg Art Gallery, 1990

included on the Katilvik website, disc number E7-1101, community Cape Dorset / Kinngait

Reference: included on the Katilvik website, disc number E7-2014, community Cape Dorset; see Biographies of Inuit Artists, Vol.1, by Canadian Arctic Producers, 1984; other examples in Sculpture / Inuit, by the Canadian Eskimo Arts Council, pg.340, University of Toronto Press, 1971; Sculpture of the Inuit, by G.Swinton, pl.31, McClelland and Stewart, 1992

Reference: Ning Ashoona is a Kinngait [Cape Dorset], NU based artist who was raised on the land in Saturituk, on the southern coast of Baffin Island. She fondly recalls fishing as a child, and that carving and drawing were a practice in daily life, work made for the co-op to support supplies for life on the land [1]. Her grandparents being established carvers, the young Ashoona learned from them, using hand tools, carving with great detail. Ashoona’s favourite subject was the loon, observing them on the water and on land. It was upon her move to Kinngait where she began to be more deeply influenced by the female carvers around her, including her grandmother.

Carving for most of her life, Ashoona is one of only a few full-time female carvers, yet is very prolific and has a distinctive style. Using both hand and power tools Ashoona bridges tradition and innovation in her approach and technique. Inspired by Arctic wildlife and her childhood on the land, much of Ashoona’s work depicts animals at play. The animals dance and glide, giving an impression of movement, and their glossy coats hint at their kinship with water. The smooth soapstone Ashoona uses, in a variety of colours from ink black to green and gray, are polished to a high lustre and give the appearance of the animals and birds just having emerged from the water. In Seals Playing [2017], three seals are delicately chiselled from dark stone. The bottom seal is propping the top two on its tail, which is carved with detail on a curve, rather than a flat plane of stone, leading the eye visually around the sculpture. Each of the seals are gazing upwards, on their backs, the heads looking in different directions, flippers extended, so the seals look to be at home both on land and in water, as their apparent buoyancy places them in either environment. The sculpture is asymmetrical with the visual weight on one side evenly divided by movement of flippers and tucked heads. Its small scale invites the viewer to look at the sculpture in the round, the gaze following the impression of movement that is an inherent sense of play between the three seals.

Ashoona’s work has been exhibiting in Canada and abroad at institutions such as the Albers Gallery of Inuit Art, San Francisco, U.S., Feheley Fine Arts, Toronto, ON and the Inuit Gallery of Vancouver. She has appeared in the Inuit Art Quarterly. - biography from inuitartfoundation.org

Reference: from Cape Dorset; listed on www.artprice.com

Reference: included on the Katilvik website, disc number E7-1304, community Cape Dorset / Kinngait

Reference: included on the Katilvik website, disc number E7-1100, community Cape Dorset; see Pitseolak: Pictures Out of My Life, ed.D.Eber, Oxford University Press, 1971 and Inuit Artist Index, by Indian and Northern Affairs Canada, pg.36; biography in Biographies of Inuit Artists, Vol.1, by Canadian Arctic Producers; Inuit Artist Index, by the Indian and Northern Affairs Canada, pg. 36, 1990; Biographies of Inuit Artists, by the Canadian Arctic Producers, 1984; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: see artist's website michelle-atkinson.ca;

Michelle Atkinson is a Calgary-based multidisciplinary artist whose practice explores the intersection of environmental data, material experimentation, and abstraction. Drawing from weather events, geological processes, and climate records, she transforms scientific information into sculptural and two-dimensional works that reveal the hidden patterns shaping our world. Her practice combines reclaimed and unconventional materials with refined craftsmanship, creating work that is both visually compelling and conceptually grounded. Michelle's work has been exhibited nationally and is held in private, corporate, and public collections, encouraging viewers to reconsider the relationship between beauty, data, and the natural environment.

Reference:

Reference: member of the Tsawout First Nation, originating from the Coast Salish area in British Columbia; part of the LaFortune family

Reference: see artist's website alanabartol.com;

Alana [Al] Bartol [she/they] is a queer interdisciplinary Canadian artist whose work examines resource extraction, petropropaganda, and embodied relationships with land. Combining research with ritual, participation, and sensory experience, they create site-responsive projects that question narratives sustaining extractive economies and shape embodied relationships with place. Longlisted for the Sobey Art Award in 2019 and 2021, Bartol’s work has been presented at Remai Modern, Art Gallery of Alberta, Berlin Feminist Film Festival, and DiverseWorks [USA], and is held in the collections of RBC, Scotiabank, the Alberta Foundation for the Arts, and other public and private collections.

Reference: see Altered Egos, The Multimedia Work of Carl Beam, by E.McLuhan, Thunder Bay National Exhibition Centre, 1984; Carl Beam: the Whale of Our Being, by J.Murray, Robert McLaughlin Gallery, 2002; Indigena, Contemporary Native Perspectives, by G.McMaster, pg.119, Canadian Museum of Civilization, 1992; Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.1, pg.22, Westbridge Pub., 1999; see Allgemeines Kunstler-Lexikon, Band 8, pg. 38, K.G. Saur Verlag Munchen-Leipzig, 1983-2009

Reference: listed on www.artprice.com; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference: biography in Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.1, pg. 32, Westbridge Pub., 1999; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: Ro spent her formative years with her nose in a book, her head in the clouds and her hands either busy with clay or building floor plans from wooden blocks. She merges her love for storytelling and her fascination with placemaking to create quiet drawings and ceramic pieces that invite reflection. Some pieces start as sentence fragments that she's been turning over in her mind; others evolve from automatic drawings. She earned a BFA in English from the University of Calgary before completing a Batchelor of Interior Design from Mount Royal University, where she was consumed by the poetics of space.

Reference: see artist's website alexanderartist.com

Alexander Boyd is a multidisciplinary artist whose work bridges traditional craftsmanship and contemporary storytelling. After completing a classical stone carving apprenticeship at Wells Cathedral, he emigrated to Canada, where his craftsmanship has contributed to landmark heritage buildings including Parliament Hill in Ottawa and Calgary's Historic City Hall.

Reference: see artist's website evanbrien.com

I am a self-taught artist based out of Calgary, Alberta who works in relief and assemblage with found motifs, material, and simple mark making techniques. While I have no formal art education, I believe life experience itself allows for the opportunity to develop an art practice. From attending trade school for graphic design and print production, to working in arts adjacent trades such as sign making, sign painting, and film set painting, to observations of the every-day through jobs of general labour, I have applied these experiences to the pursuit of art making.

Reference: see artist's website www.katiemariebruce.com;

Katie Marie Bruce is a print-based artist, arts administrator and educator. Her research-based creative practice explores ideas of the affective/affected body and empathy, and is actively invested in considering multiplicity as both motivation and manner of interrogation. She is currently an instructor at the University of Lethbridge and the Public Art Coordinator with the Allied Arts Council of Lethbridge.