Kenojuak Ashevak Native Artist Memorial

Google search honors Kenojuak Ashevak Native  Artist. Click on photo below to go to the google search results.

Kenojuak Ashevak

Kenojuak Ashevak

Go to this link to see the beautiful photos gallery.

Kenojuak Ashevak Native Artist_002_


Cape Dorset, Nunavut Territory, Canada


Kenojuak Ashevak was born October 3, 1927. Her early years were spent living a traditional hunting lifestyle on the land at Ikirasaq on the southern coast of Baffin Island, residing in igloos and skin tents.

As a young woman she married Johnniebo Ashevak in the 1950s, while living at Keakto.

They were later encouraged by James Houston, the Canadian federal government’s administrator for the region, to experiment in producing sculpture and drawings to supplement their livelihood. In 1962, Terry Ryan took over the arts-advisor role and continued to advise and support Kenojuak and Johnniebo, introducing them to new techniques and mediums, like the copper-etching process.

In 1966 they moved off the land into the Cape Dorset community to provide schooling opportunities for their children and continued to work closely together as artists until Johnniebo’s untimely demise in 1972.

Kenojuak is possibly the most renowned Inuit artist ever — and today is regarded as a great Canadian national treasure. From her humble beginnings she emerged to become regarded as one of the most notable pioneers of modern Inuit art.

She received every conceivable award and honour that any Canadian could acquire in the arts. Her imagery has been displayed on Canadian stamps and coins, her life portrayed in books and films, and her art sought all over the world by collectors, corporations and museums.

Over the years, she received commissions to produce images for institutions, charities, cultural events and celebrations, as well as becoming the first Inuit to design a stained-glass window for a chapel in Ontario. Her 1960 print Enchanted Owl has become an iconic image in Canadian art and her 1959 print Rabbit Eating Seaweed is one of the rarest images in Inuit art.

Since the very first showing of Inuit graphics in 1959, she contributed to every Cape Dorset annual print release since. She was a stalwart of the West Baffin Co-operative print shop and also a carver who created many wonderful sculptures (until 2001, when it became simply too physically demanding for her).

Kenojuak Ashevak, CC (October 3, 1927 – January 8, 2013) was a Canadian artist. She is regarded as one of the most notable Canadian pioneers of modern Inuit art.


Kenojuak Ashevak was born in an igloo in an Inuit camp, Ikirasaq, at the southern coast of Baffin Island. Her father, Ushuakjuk, an Inuit hunter and fur trader, and her mother, Silaqqi,[1] named Kenojuak after Silaqqi’s deceased father.

According to this Inuit naming tradition, the love and respect that had been accorded to him during his lifetime would now pass on to their daughter.[2] Kenojuak also had a brother and a sister.

Kenojuak remembered Ushuakjuk as “a kind and benevolent man”. Her father, a respected shaman, “had more knowledge than average mortals, and he would help all the Inuit people.”

According to Kenojuak, her father believed he could predict weather, predict good hunting seasons and even turn into a walrus; he also had the ability “to make fish swarm at the surface so it was easier to fish.”[3]

Her father had come into conflict with Christian converts, and some friends assassinated him in a hunting camp in 1933, when she was only six.[2][4]

After her father’s murder, Kenojuak moved with her widowed mother Silaqqi and the rest of the family to the home of Silaqqi’s mother, Koweesa, who taught her traditional crafts, including the repair of sealskins for trade with the Hudson’s Bay Company and how to make waterproof clothes sewn with caribou sinew.

When she was 19, her mother, Silaqqi, and stepfather, Takpaugni, arranged for her to marry Johnniebo Ashevak (1923–1972), a local Inuit hunter. Kenojuak was reluctant, she said, even playfully throwing pebbles at him when he would approach her.[5]

In time, however, she came to love him for his kindness and gentleness, a man who developed artistic talents in his own right and who sometimes collaborated with her on projects; the National Gallery of Canada exhibits two of Johnniebo’s works, Taleelayo with Sea Bird (1965) and Hare Spirits (1960).[6]

During this time and also later on, many of her children and grandchildren succumbed to disease, as eventually also did her husband of 26 years.

Three daughters of Kenojuak, Mary, Elisapee Qiqituk, and Aggeok died in childhood, and three sons, Jamasie, her adopted son Ashevak, and Kadlarjuk and Qiqituk.

The latter two were adopted at birth by another family, an Inuit custom that is still a common practice today.[2][7]


Kenojuak Ashevak became one of the first Inuit women in Cape Dorset to begin drawing. She worked in graphite, coloured pencils and felt-tip pens, and occasionally used poster paints, watercolours or acrylics.

She created many carvings from soapstone and thousands of drawings, etchings, stonecut prints and prints — all sought after by museums and collectors.[8]

She designed several drawings for Canadian stamps and coins, and in 2004 she created the first Inuit-designed stained-glass window for the John Bell Chapel in Oakville, Ontario.

In 1950 a public health nurse had arrived in her Arctic village; Kenojuak, having tested positive after tuberculosis screening, was sent to Parc Savard hospital in Quebec City, where she stayed for over three years, from early 1952 to the summer of 1955.

During her recovery, she learned to make dolls and to do beadwork, crafts which attracted the attention of civil administrator and pioneer Inuit art promoter James Archibald Houston and his wife Alma.

Houston introduced print-making to the local artists in the 1950s, and he and his wife began marketing Inuit arts and crafts.

In 1958 her first print, Rabbit Eating Seaweed, was produced from one of her designs on a sealskin bag, and by 1959 Kenojuak and other Cape Dorset Inuit had formed the West Baffin Eskimo Cooperative as a senlavik (workshop) for aspiring Inuit artists.[2]

Her reception in southern Canada was rapidly favourable, as Mark Lipman’s Canadian Press obituary reported:

Rabbit Eating Seaweed was Ashevak’s first print, part of a debut exhibition of Inuit graphics.
The young woman from the remote Canadian North was an immediate success, said Christine Lalonde, an expert in Inuit art with the National Gallery of Canada. “She had her own sense of design… She was already willing to let the pencil go, because she had the hand and the eye co-ordination to make the image she already had in her head.””
The National Gallery owns several copies of The Enchanted Owl, including the original pencil sketch from 1960. That sketch reveals much, said Lalonde. “It’s a very simple drawing — pencil on pulp paper. But you can see even then how confident and sure her line was as she was making the curves of the fanning feathers.” [9]The Toronto Star

By 1963 her art had made her sufficiently notable to be the subject of a National Film Board documentary by producer John Feeney, Eskimo Artist: Kenojuak, about Kenojuak, then 35, and her family, as well as traditional Inuit life on Baffin Island.

The film showed a stonecutter carving her design into a relief block in stone, cutting away all the non-printing surfaces; she would then apply ink to the carved stone, usually in two or more colours, and carefully make 50 “shadow” prints for sale.[10]

National Gallery of Canada art expert Christine Lalonde marvelled at her confident artistry: “When you see her, you realize she doesn’t use an eraser. She just sits down and she starts to draw.”[9]

With the money she earned from the film. Johnniebo was able to purchase his own canoe and become an independent hunter to help provide for the family, which now included a new daughter, Aggeo, and an adopted son, Ashevak.[2]

The year after Johnniebo died in 1972, Kenojuak remarried Etyguyakjua Pee; he died in 1977, and in 1978 she again married Joanassie Igiu.[11]

She had 11 children by her first husband and adopted five more; seven of her children died in childhood.[11] At her death (from lung cancer) she was living in a wood-frame house in Kinngait (Cape Dorset).[5]

A CBC report of Kenojuak’s death characterized her as a person of unfeigned humility and simplicity:

Okpik Pitseolak, an artist from Cape Dorset who knew her personally, said Kenojuak Ashevak brought Inuit art to the world but was “very humble about her work.”
Pitseolak said that when she appeared on the radio to talk about her art, she didn’t want to come across “as someone who brags” about it. But she was “thankful for the fact that she was given this gift.”[12]CBC News


Ashevak’s star on Canada’s Walk of Fame.

Stained glass

Window of John Bell Chapel (Appleby College, Oakville near Toronto; designed in 2004).

In 2004, Kenojuak designed a stained glass window for a chapel at Appleby College in Oakville, Ontario.

The window, of an Arctic char along with an owl against a vibrantly blue background, is the first such window made by an Inuit artist; it was suggested by two Biblical stories in which Jesus feeds a large crowd of people with two fish and a few loaves of bread, which for Kenojuak thoroughly embodied the spirit of the Inuit community, where food is always shared.

The window was dedicated by the Rt. Rev. Andrew Atagotaaluk, Bishop of the Arctic, on November 9, 2004, celebrating the 75th anniversary of John Bell Chapel.[15]


(Note on title: Feeney had suggested using the term “Inuit” in place of “Eskimo,” but in 1963 it had been rejected as an unfamiliar term to non-Inuit audiences)
  • 1992, archival and contemporary footage of Kenojuak was featured in Momentum, Canada’s film for Expo ’92.[18]

In popular culture

The search engine Google showed a special doodle on its Canadian home page on October 3, 2014 for Kenojuak Ashevak’s 87th Birthday.


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