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Canku Ota |
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(Many Paths) |
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An Online Newsletter Celebrating Native America |
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April 5, 2003 - Issue 84 |
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A Reason to Celebrate |
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by Miriam Hill - Nunatsiaq
News
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credits: photo - The
2003 Pangnirtung Print Collection marks the 30th anniversary of printmaking
in the community. Jolly Atagooyuk, a printmaker from the community poses
in the print shop. courtesy of Nunatsiaq News
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The
2003 Pangnirtung Print Collection will be released June 20, and this years
collection marks the 30th anniversary of printmaking in the community. The
print studio not only looks different than it did 30 years ago, whats
going on inside its doors has changed as well. Back
in 1973 when the printmakers made their debut, many of the works were
stonecuts, a technique where standard lithographic stone is carved out
into a relief image of the design to be printed. Today, most of the work
produced by the studios core of eight to 10 printmakers is mainly
stencil-based. The
stenciling itself has changed too. Peter Wilson, general manager of the
Uqqurmiut Centre for Arts & Crafts, says the technique has evolved
over the years. "They
used to do it with kind of a leather stamp that they could pick up with
four colours, just using four corners of it. Now we use individual brushes
for each colour," he says. "It was like a big blob of something
soft wrapped in leather and they just ink that up." Wilson
says the printmaking community has overcome many challenges in three decades.
Residents saved the print shop from closure in the late 1980s by forming
the Uqqurmiut Inuit Artists Association and buying assets from the old
Pangnirtung Eskimo Co-operative. Then
in 1994, disaster struck again when the old print shop was ravaged by
fire and a lithography press was lost. The printmakers moved shop to temporary
facilities and still put out a collection that year. The association raised
money under then-chair Rose Okpik and constructed the facility that exists
today. This
year, the shop acquired a used lithography press for about $10,000 to
replace the one lost in the fire. "Thats
going to reestablish something they used to do here before," Wilson
says. "The next step is to bring in a lithography expert to help
us set up a studio properly and also to give training." For
some of the printmakers, such as Andrew Qappik, a return to lithography
will be a refresher course and perhaps, Wilson says, a way to connect
with Cape Dorset, a world-renowned lithograph-producing community. There
hasnt been much sharing between the communities artistically over
the years, he admits, but bringing a master printmaker in from that community
may be a way for it to begin. "Talking
to some of the printmakers there, they seem quite excited about that too,"
he says. Wilson
says the space in the print shop grew recently after some walls were removed
and he hopes that space will be enough to house the new press and the
area needed to keep the chemicals. "Weve
tried to create a more sort of gallery-like setting so that visitors to
the print shop will feel immediately comfortable and will immediately
have prints to look at when they first come in the door," he says. The
2003 collection includes the work of nine printmakers based on the design
of a number of Pangnirtung artists. Judith Leidl, a master printmaker
and teacher from Wolfville, Nova Scotia, was invited to act as arts advisor
for the collection. "We
talk about colour, we talk about technique," Leidl explains. "If
theres a technical problem that we have, we work together to try
and solve it and I might have access to information that is useful for
them. Theres a workshop component to this as well." The
collection will include stencils, relief prints both lino and stonecuts
and etchings. Lithographs will hopefully make a return in 2004.
About 25 galleries will exhibit the collection in Canada, the United States and Switzerland.
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