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23 2013

Acquired: Jacoposie Oopakak’s Family (2011)

Syndicated from: AGO Art Matters

By Andrew Hunter, Fredrik S. Eaton Curator, Canadian Art Jacoposie Oppaka, Family, 2011, antler, bone, stone, metal, 92.7 x 66 x 88.9 cm, detail of skull and base. We are really pleased to announce that we recently acquired Family (2011), the first major work by contemporary Inuit artist Jacoposie Oopakak (born 1948, Qipisa, Cumberland Sound, Baffin Island) to come in to the AGO collection. Made of antler, bone and stone, this is a rare work: it is one of only three complete sets of antlers carved by Oopakak during his career. Antler is difficult to carve due to its fragility, and Family is also unique for having the antlers and skull intact. Jacoposie Oppakak, Family, 2011, antler, bone, stone, metal, 92.7 x 66 x 88.9 cm Jacoposie Oopakak began carving in the 1970s following initial formal training in jewellery workshops run by the government of the Northwest Territories. From the outset, his skill as a carver of intricately detailed and delicate work was widely recognized. His art is rooted in Inuit traditions of hunting, travelling and living off the land and involves complex, multi-figured compositions that suggest evolving narratives and the progression of time. Like his contemporary Manasie Akpaliapik (who is well represented in the AGO collection), Oopakak is extremely skilled at developing his carvings in a highly sympathetic dialogue with his material, allowing forms to emerge from, and to be suggested by, the structure and material characteristics of bone, stone and ivory, with the natural shape — the extended curving growth of antler in this work, for example — suggesting a narrative trajectory. In many of his works, one sees a significant transformation in material and in the end it can be difficult to identify the source (a jaw bone or antler for example). In such large, complex sculptures as Family (2011), Power (2011, private collection) and Nunali (c.1988-89, National Gallery of Canada), however, the source material (full antler racks) is explicit and integral to the work. Jacoposie Oppakak, Family, 2011, antler, bone, stone, metal, 92.7 x 66 x 88.9 cm, detail of antler carving. Oppakak’s career can be understood in two phases: a very productive period in the 1980s and then a re-emergence in the past decade. In the 1990s, he suffered a series of personal tragedies and illnesses (the death of his wife and son, depression and tuberculosis), during which his production ceased. There has been a marked resurgence in his production in recent years, creating a consistently high level of ambitious work. Much of it was exhibited in Toronto in the fall of 2011 with Family and Power being the two major pieces presented in Masterful Vision: Sculpture by Jacoposie Oopakak (Feheley Fine Arts, Nov. 5 to 30, 2011). Carved into the antlers of Family is a mix of wildlife, human figures and pictorial scenes all reflective of the artist’s recollections of family life and community traditions. The skull is anchored to a green stone base featuring a self-portrait. Like a number of senior Inuit artists, Oopakak’s work is a bridge to the traditional life on the land into which he was born, articulated from the perspective of modern settlement life. Family was a Chalmers Inuit Fund purchase and allowed us to acquire a rare and major work by a senior artist who is under-represented in the AGO collection. (The small carving Sea Goddess from the 1980s, donated by Samuel and Esther Sarick, was the only Oopakak work in the AGO collection). Family will be an anchor work within the AGO’s permanent collection having great potential for exhibition and education purposes and, like the National Gallery of Canada’s Nunali, a signature sculpture in the Canadian and contemporary Inuit collection.

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