Luke Anguhadluq

Luke Anguhadluq was a printmaker and graphic artist from Tariunnuaq (Chantrey Inlet), NU. He spent the majority of his life living on the land in an Utkuhikhalingmiut camp until later in life when he relocated to Qamani’tuaq (Baker Lake), NU [1]. At 73, Anguhadluq began drawing exploring themes of hunting, drum dancing and community. In 1969 a printmaking program was introduced in Qamani'tuaq and Anguhadluq’s drawings were quickly transformed into prints. Over 80 of Anguhadluq's artworks were featured in the Baker Lake Print Collection [2].

His earlier works from 1960-1969 were composed using graphite, felt-tip pen and coloured pencil. Human figures from this early period are generally silhouetted in dark colours, though this style does reappear in later works such as String Game (1973). From 1970-1982, Anguhadluq gained access to higher quality paper as well as a larger range of coloured pencils and ink and as a result he incorporated more colour into his compositions. He also increasingly added more details to his works such as tattoos and decorative clothing. Anguhadluq also began incorporating multiple perspectives into his work, moving away from narratives that happened on a linear plane and beginning to portray larger groups of people. The drawing Drum Dance (1970) prominently features a top-down view of the activity concentrated around the drum.

Anguhadluq has an accomplished artistic legacy. In 1976 he shared an exhibition space with his wife Marion Tuu'luq at the Winnipeg Art Gallery titled Tuu’luq/Anguhadluq. In 1993 the Art Gallery of Ontario organized a solo exhibit of Anguhadluq’s work titled From the Centre: The Drawings of Luke Anguhadluq, held in Ottawa at the National Gallery of Canada. Anguhadluq has been featured several times in the Inuit Art Quarterly, most recently in a tribute written by his son, Tony Anguhalluq [3].