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 and eventually settled in Qamani’tuaq (Baker Lake), NU . It was during this period of settlement that Anguhadluq developed the artistic drawing practice for which he is known today.
At 73 Anguhadluq began drawing with the central themes focused on including hunting, drum dancing and representations of people in his community. In 1969 a printmaking program was introduced to the community and Anguhadluq’s drawings were quickly transformed into prints. Over 80 of Anguhadluq's artworks were featured in the Baker Lake Print Collection .
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. As a result he incorporated more colour into his compositions. His figures also gained details such as hair, tattoos, facial features and decorative clothing. Moreover, the elements of Anguhadluq’s compositions developed greater complexity in their spatial relationships to one another .
Anguhadluq began incorporating multiple perspectives into his work, moving away from narratives that happened on a linear plane and began to portray larger groups of people. The drawing Drum Dance (1970) prominently features a top-down view with the activity concentrated around the drum. The figures stand in a circle, oriented relative to the drum’s position. Some of the figures are larger than others, indicating their proximity to the centre of the gathering. The drummer is one of the smallest characters as they are closer to the action, and are the only person whose back is turned to the audience.
Despite his short artistic career Anguhadluq left behind an accomplished 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 .
1. “Luke Anguhadluq”, The Canadian Encyclopedia, accessed January 16, 2018, http://www.thecanadianencyclopedia.ca/en/article/luke-anguhadluq/.
2. Cynthia Cook, “From the Centre: An Examination of the Drawings of Luke Anguhadluq”, Inuit Art Quarterly 10, no. 1 (Spring 1995): 6.
4. Tony Anguhalluq, “Luke Anguhadluq: 1895-1982, Qamani’tuaq, NU”, Inuit Art Quarterly 30 no. 3 (Fall 2017): 103.