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2014Cat02.Pdf Photo: William Ritchie FOREWORD The yearly round-up of news from Kinngait Studios tends to focus on our artists. There’s rarely much mention of our technical and support staff - a talented group of hard-working professionals who play a pivotal role in the creation of our Annual Collection. So this year, I’d like to break with tradition and shine a spotlight behind the scenes. The retirement of Pitseolak Niviaqsi - Kinngait’s long-time Senior Printer in Lithography - prompted some well-deserved promotions. Niveaksie Quvianaqtuliaq is now Senior Printer in Lithography, while his brother, Nujalia Quvianaqtuliaq, made the big move from Press Assistant to Printer on his own press. Added to the ranks are two new Press Assistants: Paulie Sagiak and Niviaqsi Niviaqsi, Pitseolak’s son. Over in stone cut, our indomitable Senior Printer, Qiatsuq Niviaqsi, continues to work in his corner of the workshop. He is joined by four full-time stone cut printers and new trainee Tapungai Niviaqsi. The crew continues to innovate and incorporate new skills. For example, registered, multi-colour reduction printing (a technique traditionally used in wood block printing) is now an established practice in our stone cut studio. This year, Qavavau Manumie used this technique to print two large images by artist Saimaiyu Akesuk. Qavavau’s attention to the subtle nuances of colour on top of colour really makes these images stand out. Paul Machnik’s Studio PM out of Montreal continues to contribute to the annual collection. Their intaglio printing brings a different approach to interpreting our artist’s drawings. I’d like to thank them for their many years of fne work. Meanwhile, Dorset Fine Arts moved to its new home this spring. If you’ve visited the old showroom, you’ll have some understanding of just how enormous a task this was. Many thanks to John, Kate, David, Donna and Richard for getting this collection out amidst the moving chaos. On a somber note, the drawing studios are feeling lonely without our friend Itee Pootoogook sitting there at his window seat. His battle with cancer ended in early spring. Wil Hudson, who ran the typography program in Cape Dorset in the early mid 70’s, also passed away this year, as did Wallie Brennan, who ran the lithography program for 10 years in the 70’s. Farewell friends. Keep a place by the kudlik for me. - William Ritchie JAPANESE PAPERS AT THE PRINTSHOP IN CAPE DORSET Since the beginning of print production in Cape Dorset in the 1950s, traditional Japanese papers -”washi” - have been used for stone and stencil prints. Evenly and richly absorbent with a subtle fbrous texture, washi has also been used for centuries in Japan to create woodblock prints. Until the 1980s, the choice of these papers available outside Japan was very limited, and the quality of the papers varied from fne handmade kozo paper to machinemade paper hastily formed from imported fbres. Since then, our knowledge about washi, and accessibility to options, has broadened substantially. As a result, there is now consistent high quality and some unique surprises in the Japanese papers selected for the annual relief prints in Dorset. In the 2014 collection, as in many over the last 20 years, the majority of the stone and stencil prints are on kizuki kozo white or natural paper. Kizuki means pure, referring to the 100% kozo fbre content. These papers are handmade in Ehime Prefecture, well-known for its centuries of excellent kite-making papers, by a third generation master papermaker. In winter, he harvests, cleans, cooks and pounds the inner bark of branches of the kozo bush. He then forms perfectly even sheets of paper by dipping a woven bamboo screen repeatedly into a vat of fbre, water and hibiscus root, in a method dating back 1400 years. This process uses renewable plant material and sustainable practises, but its labour-intensity means that skilled makers are becoming fewer and fewer. However, the Co-Op at Cape Dorset is a key customer for the papermaker of kizuki kozo. One stonecut in the 2014 collection, and one commission print are on colourful dyed Moriki kozo, handmade with pristine water in the Inshu region of Japan, again by a master papermaker. How ftting that the ingenuity and fne craftsmanship of the Inuit designers and printers at Cape Dorset is now consistently matched with the best of washi, produced with consummate skill by papermakers continuing the long tradition of craft excellence in Japan. - Nancy Jacobi Photo: Nancy Jacobi Papermaker harvesting renewable kozo branches Since the beginning of print production in Cape Dorset in the 1950s, traditional Japanese papers -”washi” - have been used for stone and stencil prints. Evenly and richly absorbent with a subtle fbrous texture, washi has also been used for centuries in Japan to create woodblock prints. Until the 1980s, the choice of these papers available outside Japan was very limited, and the quality of the papers varied from fne handmade kozo paper to machinemade paper hastily formed from imported fbres. CEE POOTOOGOOK ITEE POOTOOGOOK Since then, our knowledge about washi, and accessibility to options, has broadened substantially. As a result, there is now consistent high quality and some unique surprises in the Japanese papers selected for the annual relief prints in Dorset. In KAKULU SAGGIAKTOK the 2014 collection, as in many over the last 20 years, the majority of the stone and stencil prints are on kizuki kozo white or KUDLUAJUK ASHOONA natural paper. Kizuki means pure, referring to the 100% kozo fbre content. MALAIJA POOTOOGOOK These papers are handmade in Ehime Prefecture, well-known for its centuries of excellent kite-making papers, by a third generation master papermaker. In winter, he harvests, cleans, cooks and pounds the inner bark of branches of the kozo MAYOREAK ASHOONA bush. He then forms perfectly even sheets of paper by dipping a woven bamboo screen repeatedly into a vat of fbre, water NINGEOKULUK TEEVEE and hibiscus root, in a method dating back 1400 years. This process uses renewable plant material and sustainable practises, but its labour-intensity means that skilled makers are becoming fewer and fewer. However, the Co-Op at Cape Dorset is a key OHOTAQ MIKKIGAK customer for the papermaker of kizuki kozo. PAPIArA TUKIKI One stonecut in the 2014 collection, and one commission print are on colourful PITALOOSIE SAILA dyed Moriki kozo, handmade with pristine water in the Inshu region of Japan, QAVAVAU MANUMIE again by a master papermaker. SAIMAIYU AKESUK How ftting that the ingenuity and fne craftsmanship of the Inuit designers and SHUVINAI ASHOONA printers at Cape Dorset is now consistently matched with the best of washi, produced with consummate skill by papermakers continuing the long tradition SIASSIE KENNEALLY of craft excellence in Japan. TIM PITSIULAK - Nancy Jacobi 2014 CAPE DORSET ANNUAL PrINT COLLECTION 2 1 1 CEE POOTOOGOOK ITEE POOTOOGOOK 1. MOSQUITOES 2. SUNLIT INTErIOr Lithograph on BFK rives Cream Etching & Aquatint on Arches White Printer: Nujalia Quvianaqtuliaq Printer: Studio PM 76.5 x 57 cm 44 x 42.5 cm 4. 4 4 3 ITEE POOTOOGOOK KAKULU SAGGIAKTOK 3. DRIFTING ICE 4. CATS & DOGS Lithograph on BFK rives Tan Etching & Aquatint on Arches White Printer: Niveaksie Quvianaqtuliaq Printer: Studio PM 38.7 x 56.8 cm 39.5 x 40 cm 5 5 6 5 KUDLUAJUK ASHOONA KUDLUAJUK ASHOONA 5. NOrTHErN EXPOSUrE 6. SNAPSHOT Lithograph on Arches Cover White Lithograph on BFK rives White Printer: Niveaksie Quvianaqtuliaq Printer: Niveaksie Quvianaqtuliaq 76.3 x 57 cm 51.5 x 66.3 cm 6 8 7 MALAIJA POOTOOGOOK MAYOREAK ASHOONA 7. rECLINING CArIBOU 8. BEDAZZLED Etching & Aquatint on Arches White Etching & Aquatint on Arches White Printer: Studio PM Printer: Studio PM 70.5 x 74 cm 63 x 60.7 cm 7 NINGEOKULUK TEEVEE 9. rUFFLED FEATHErS Lithograph on Arches Cover White Printer: Niveaksie Quvianaqtuliaq 76.4 x 57 cm NINGEOKULUK TEEVEE 10. TAILWIND Stonecut & Stencil on Moriki Kozo Blue Printer: Tutuiza Jaw 27.5 x 33 cm NINGEOKULUK TEEVEE 11. TRANCE Stonecut & Stencil on Kizuki Kozo White Printer: Tutuiza Jaw 41 x 30.5 cm NINGEOKULUK TEEVEE 12. THE SWIMMER Stonecut & Stencil on Kizki Kozo White Printer: Qiatsuq Niviaqsi 61.5 x 79.5 cm 9 8 10 12 11 9 13 15 14 10 NINGEOKULUK TEEVEE 13. OWL NESTING Stonecut on Amalf Natural Printer: Tutuiza Jaw 30.5 x 35.5 cm NINGEOKULUK TEEVEE 14. SIKU SIGGIAJU (Spring Break Up) Stonecut & Stencil on Kizuki Kozo Natural Printer: Cee Pootoogook 62 x 75 cm 16 NINGEOKULUK TEEVEE 15. OWL’S LOOKOUT Stonecut & Stencil on Kizuki Kozo White Printer: Ashoona Ashoona 68.5 x 45.5 cm NINGEOKULUK TEEVEE 16. SHAPE SHIFTER Stonecut on Tosaji Natural Printer: Ashoona Ashoona 47 x 65.5 cm NINGEOKULUK TEEVEE 17. rAVEN WITH ULU Stonecut & Stencil on Gampi Torinoko Printer: Ashoona Ashoona 52 x 63.8 cm 17 11 19 18 OHOTAQ MIKKIGAK OHOTAQ MIKKIGAK 18. JOYFUL LOON 19. HIDDEN CArIBOU Stonecut & Stencil on Kizuki Kozo White Stonecut & Stencil on Kizuki Kozo Natural Printer: Ashoona Ashoona Printer: Qavavau Manumie 59.5 x 60 cm 32.5 x 38.3 cm 12 21 20 OHOTAQ MIKKIGAK OHOTAQ MIKKIGAK 20. CALM WATErS 21. MORNING CATCH Etching & Aquatint on Arches White Etching & Aquatint on Arches White Printer: Studio PM Printer: Studio PM 50.7 x 58.5 cm 40 x 43.5 cm 13 PAPIArA TUKIKI 22. BUZZ 22 Stonecut & Stencil on Kizuki Kozo White Printer: Tutuiza Jaw 18 x 22.3 cm PAPIArA TUKIKI 23. WINTER HARE Stonecut & Stencil on Kizuki Kozo Natural Printer: Cee Pootoogook 49.5 x 62 cm 23 14 25 24 PITALOOSIE SAILA PITALOOSIE SAILA 24.
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