ᐅᒃᑯᓯᒃᓴᓕᒃᑯᑦ ᕿᑦᑐᒑᖅᑐᖅ

Kenojuak Ashevak and Qiatsuq Niviaqsi in the process of creating the print 'Audacious Owl', created by the stonecut and stencil technique

Kenojuak Ashevak and Qiatsuq Niviaqsi in the process of creating the print "Audacious Owl", created by the stonecut and stencil technique photo Jimmy Manning, 1992-1993,
IMG2008-0938-0013-S, Photo © CMC

ᑎᑎᕋᐅᔭᖅᑎ ᓵᑦᑐᐱᐊᒃᑯᑦ ᐅᔭᕋᒃᑯᑦ ᕿᑦᑐᒑᓕᖅᐳᖅ ᐊᔾᔨ ᐃᔾᔪᐊᕐᖢᒍ. ᐊᔾᔨᐅᓂᖓ ᑎᑎᕋᐅᔭᖅᓯᒪᓂᖓ ᖄᖓᓃᑦᑐᖅ ᐊᒻᒪ ᐊᑐᕐᓂᐊᓐᖏᓐᓂᖓ ᐊᔾᔨᐅᑉ ᐊᕙᓗᖓ ᓯᓚᑎᖓ ᐲᔭᖅᑕᐅᓪᓗᓂ ᐃᓗᑦᑐᖅᑎᖅᑕᐅᓪᓗᓂ. ᐊᔾᔨᐅᓂᖓ ᖄᖓᓃᑦᑐᖅ ᐊᒥᐊᒧᑦ ᐊᒥᐊᖅᑕᐅᓗᓂ ᐅᓄᖅᓯᑎᑎᑕᐅᓂᐊᕐᖢᓂ. ᐊᒥᐊᕈᑎᑲᕐᖢᑎᒃ ᐊᒃᓴᓗᑭᑕᖅᑐᒥᒃ ᐊᒥᐊᕈᑎᒥᒃ. ᐊᒥᐊᖅ ᖄᖓᓄᑦ ᐊᒃᓴᓕᒃᑕᐅᓪᓗᓂ ᐱᔭᐅᕙᒃᑲᒥ ᑕᐃᔭᐅᕗᖅ ᖃᓪᓗᓈᑎᑐᑦ "ᖄᐹᖓ" ᐅᓄᖅᓯᑎᑦᑎᓪᓗᓂ ᐊᑐᖅᑕᐅᔪᖅ.

ᑎᑎᕋᐅᔭᖅᑎ ᐊᐃᑉᐹᒥᒃ ᐊᒥᐊᓕᐊᓂᒃᑯᓂᐅᒃ ᖄᖓᓄᑦ ᐃᓕᓯᓕᖅᐳᖅ ᐊᒻᒪᓗ ᐊᒡᒐᒥᑎᒍᑦ ᐊᒃᓴᓗᑭᑕᖅᑕᖓ, ᑕᒪᕐᒥᒃ ᐊᒥᐊᕐᒥᒃ ᑕᖅᓴᓕᒃ ᖄᖓᓃᑦᑐᖅ ᐊᒃᓴᓕᐅᑎᒧᒃ ᐊᒃᓴᓕᒃᑕᐅᒃᑲᓐᓂᖅᐳᖅ. ᐊᒃᓱᕈᖅᑕᐅᓪᓗᓂ ᑕᖅᓯᑦᑎᐊᕐᓂᐊᕐᒪᑦ. ᐊᒥᐊᖅ ᐸᐃᑉᐹᒧᑦ ᐃᓕᑦᑎᐊᖅᐸᑦ , ᓱᒃᑲᐃᑦᑐᒥᒃ ᐱᓕᕆᐊᖑᑦᑎᐊᕆᐊᕐᖢᓂ ᐸᐃᑉᐹᖅ ᐅᔭᕋᕐᒥᑦ ᐲᖅᑕᐅᕗᖅ, ᑕᖅᓴᖅᑖᖓ ᑕᑯᒃᓴᐅᕗᖅ ᐊᒻᒪᓗ ᐃᒡᓗᒐᖓᓄᑦ ᐋᖅᑭᐅᒪᓪᓗᓂ, ᑕᖅᓴᖅ ᑎᑎᕋᐅᔭᖅ.

Kenojuak Ashevak and Qavavau Manumie in the process of creating the print The Sun's Return, created by the stonecut and stencil technique

Kenojuak Ashevak and Qavavau Manumie in the process of creating the print "The Sun's Return", created by the stonecut and stencil technique photo Jimmy Manning, 1992-1993,
IMG2008-0938-0015-S, Photo © CMC

ᑎᑎᕋᐅᔭᖅᑎ ᑕᐃᒪᓐᓇᐃᓕᐅᖑᔭᕐᖢᓂ 50 ᐅᖓᑎᖏᓐᓂᒃ ᓴᓇᕗᖅ , ᐃᓗᑲᕐᖢᑎᒃ ᑕᓪᓕᒪᓂᒃ "ᓇᓪᓕᐅᒃᑯᒫᓂᒃ" ᑕᑯᔭᒃᓴᓂᒃ. ᐅᔭᕋᖅ ᐊᑐᐊᓂᒃᐸᑦ ᐊᒋᐊᖅᑕᐅᓕᕆᕗᖅ, ᑕᖅᓴᖓ ᓄᖑᓴᖅᑕᐅᓪᓗᓂ. ᑕᐃᒪᓐᓇ ᐅᓄᖅᓯᑎᑦᑎᓂᖅ ᑎᑎᕋᐅᔭᒐᓂᒃ ᔮᐸᓃᓯᒃᑯᓐᓂᑦ ᐊᑐᖅᑕᐅᕙᒃᑐᑐᑲᖅ, ᑭᓐᖓᕐᒥᐅᑦ ᑭᓯᐊᓂ ᑭᔪᖕᒥᒃ ᐊᑐᖅᐸᓐᖏᑉᐳᑦ, ᐅᒃᑯᓯᒃᓴᓕᖕᒥᒃ ᐊᑐᖅᐸᒃᐳᑦ, - ᕿᔪᒃ ᐊᕿᓐᓂᖅᓴᐅᒐᓗᐊᖅ ᐱᑕᖃᓐᖏᒻᒪᑦ.

Owl

Owl Saila, Pauta, 1964-1965, CD 1964/65-054 Photo © CMC

Kenojuak Ashevak using a black ink felt pen to draw what would become the print "Guardians of the Owl"

Kenojuak Ashevak using a black ink felt pen to draw what would become the print "Guardians of the Owl" photo Jimmy Manning, 1991,
IMG2008-0938-0021-S, Photo © CMC

“rollerᖑᓂᕋᖅᑕᐅᔪᖅ” ᐊᑐᖅᑕᐅᖃᑦᑕᖅᓯᒪᔪᖅ ᐊᒥᐊᕈᑎᑎᒍᑦ ᑎᑎᖅᑐᒐᕐᓂᕐᒧᑦ ᓵᒃ.
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