Victoria Mamnguqsualuk
Victoria Mamnguqsualuk (1930-2016) - Artist Biography
Victoria Mamnguqsualuk spent her childhood in the Back River area of the Northwest Territories and moved to Qamani’tuaq (Baker Lake), NU, in 1963. She is one of the best-known Inuit artists of her generation. Mamnguqsualuk practiced her art in many forms including drawing, printing, textiles and sculpture. She was one of artist Jessie Oonark's (1906–1985) children, many of whom became well-known artists including Janet Kigusiuq, Nancy Pukingrak, Peggy Qablunaaq Aittauq, Mary Yuusipik Singaqti, Joshua Nuilaalik, Miriam Marealik Qiyuk and William Noah.
As a child Mamnguqsualuk learned to sew by watching her grandmother make caribou clothing, and by sewing slippers and the sleeves of parkas. Once Mamnguqsualuk settled in Qamani'tuaq, NU, she became involved with the artist co-op where she learned to sew wall hangings as well as carve and draw. Mamnguqsualuk is best known for her wall hangings but was dedicated to expanding her artistic practice, actively learning new styles or techniques in graphic arts and textiles. Eight of her prints were a part of the first Baker Lake Print Collection in 1970 and her pieces have appeared in many collections since then.
Mamnguqsualuk's works have appeared in nearly 100 exhibitions in Canada, the US and internationally. Her art can be found in permanent collections in Canada and the US in institutions such as the Winnipeg Art Gallery in Manitoba, the Canadian Museum of History in Gatineau, QC, the National Gallery of Canada in Ottawa, ON, the Glenbow Museum in Calgary, AB, and many more.
Biography & Photo c/o The Inuit Art Foundation
Mamnguqsualuk's work is in the collections of:
Winnipeg Art Gallery
Canadian Museum of Civilization
Macdonald Stewart Art Centre
McMichael Canadian Art Collection
National Gallery of Canada
Glenbow Museum
Artistic Approach: Victoria Mamnguqsualuk’s artistic practice is deeply rooted in the Inuit oral tradition, particularly scenes from the unikkaaqtuat, a body of stories passed down from generation to generation. This drawing depicts a scene from the popular misadventures of Kiviuq, an extremely clever, yet humorously flawed shaman. Mamnguqsualuk created many works about Kiviuq’s misadventures, and she returns to this scene in many of her drawings, prints and textile works. Here, Kiviuq finds himself in hostile territory, in a community filled with enemies who want him dead. Pursued by a man riding Aloola, a powerful two-headed dog, Kiviuq prepares to shoot an arrow into Aloola’s ear, thereupon successfully firing his bow and making his escape. Mamnguqsualuk explained that the emphasis on traditional narratives in her work had been heavily inspired by childhood memories of falling asleep while listening to her grandmother recount these stories.
