Triumvirate Kenojuak Ashevak. Beaverbrook Art Gallery Art EduKit. Kenojuak Ashevak (Canadian/Inuit b. 1927)

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1 Kenojuak Ashevak (Canadian/Inuit b. 1927) Triumvirate 1968 stonecut on paper 62.2 x 86.4 cm Gift of Mrs. A Murrary Vaughan 65

2 What can we learn from looking at Kenojuak Ashevak s Triumvirate? Let s look Take your time. Look carefully. Where do your eyes go first? Then where? Take in as many details as you can. Let s describe What do you see when you first look at this image? Where do your eyes go first? Is there anything unique about the image? Look closer? Is there more to the image then what you see at first glance? Count out how many birds you can see. Can you find all three? Think about how the artist chose to use the image of 3 birds, while at the same time, chose to blend the birds in together. Why do you think the artist made this decision? Encourage students to ask questions. What visual elements in the artwork prompt the questions asked? Let s imagine Have you researched what the word and title of this artwork, Triumvirate means? Ashevak used three birds in his Triumvirate. If you were to create a triumvirate, what symbol would you use? And why? 66

3 Art-making inspired by Kenojuak Ashevak s Triumvirate. Three s Company: Clay Tiles Curriculum Connections: Discuss their own visual images to share their intentions; recognize that images are developed for a variety of purposes, and discuss their own intentions in creating art objects. Materials Needed Image of Kenojuak Ashevak s painting Triumvirate Liquid Tempera Paint Plastic Palette Knives Plastic Knives, Spoons, Forks Clay Water Containers Cardboard Pencils Paper 67

4 Let s Get Started Discuss! Students love working with alternative materials. Clay is an excellent medium for students to work with as it allows them to really engage with a medium. This activity will introduce students to the world of relief tiles and repetition. It will also give them the opportunity to work with line, shape and balance and how it relates in nature. Prepare! We suggest that the teacher have a collection of images of animals from nature. Wild animals that can be found around the world would be interesting to have. These can simply be cut out images from magazines such as National Geographic. Students are going to reinterpret these images and carve strong relief lines in clay. Clay can be pre-cut and pressed with a rolling pin into tile like pieces and put aside, covered in plastic, to keep it from drying. This will save time when it comes to giving students their clay. Place the slabs of clay on pieces of cardboard so that they can be easily transported. Make the slabs either 3x3 or 4x4 depending on the amount of clay available. Create! Note: The example image of Kenojuak Ashevak s painting will be on display for the class to refer as an example of how animals can be interpreted in different ways. 1. The students will be asked to identify the 3 birds in the image. 68

5 2. The class will be encouraged to have a discussion about how strong and bold the lines are and how, even in a stylized image, you can still identify the 3 birds in the print. Following the short discussion, students will be told that they are going to create their own multiple animal drawing, only they are going to do it in clay. 3. Students will be told that they are going to be using a plastic knife or pencil and then carve it out in the clay tile piece. They will also be told that they can add on to the clay tile by adding extra clay to build out from the base. 4. After the discussion and description students will be given paper in order to allow them to do preliminary drawings of their altered animals. 5. Students will be told that they need to blend three different versions of the animal image they chose. After they have finished their drawings they will be given their clay to begin work. 6. A variety of plastic tools would be very helpful for students to use for carving and marking their clay tile. Plastic knives, spoons, and forks work perfectly for this task. Students will have to use just a little drop (literally a drop) of water if they want to attach additional clay, as if it is too wet, the clay will not stick. 7. Students will make sure that they focus on marking bold strong lines when they carve into the clay, to create an animal that can be identified. 8. Once the carvings are all done, put the tiles aside to dry. When the tiles are dry, students can take the opportunity to paint them. Use only one prominent colour, with a white background. They can choose any colour they want for the relief part as long as it is one colour. 9. When they are ready to paint the students will be given their paint tray with the selected colour (which varies depending on resources). Black is a colour that can be used here if wanted, as black and white make a great contrast. 10. Students who finish their clay tile early can use leftover clay pieces and form a miniature sculpture of their chosen animal. This can also be painted, and displayed alongside their relief tile. 69

6 11. When all the relief tiles are painted and dry students will take turns discussing their tile and why they selected their chosen animal for the carving. Tips and Tricks Drape pieces of wet paper towel over the clay that students are working on to prevent it from drying out. This simple trick can save a lot of clay. Using a hairdryer to help dry the tiles can cut down on drying time. If using dark coloured clay, the tiles can all be painted white as a primer, and then allowed to dry, in order for the colours to remain vibrant. Artist Biography Kenojuak Ashevak was born on South Baffin Island. She has been a sculptor and graphic artist for more than forty years and is one of the most widely recognized living Inuit artists today. Kenojuak Ashevak spent her childhood living on the land and following the traditional Inuit lifestyle in South Baffin Island and Arctic Quebec. She married artist Johnniebo Ashevak, and in the late 1950s they began drawing and carving together. In 1966, they moved to Cape Dorset and worked closely together until Johnniebo s death in Since 1959, her work has been represented through the artists cooperative and has been shown in numerous exhibitions throughout Canada, the United States, Europe, and Asia. Kenojuak s prints are made by stone cutters and printers and based on her drawings. The favourite subjects of her drawings and prints are birds, fish, and human faces, which are usually solitary icons, without any background or context. 70

7 Kenojuak has received many honours throughout her career. In 1961, she was featured in the film Eskimo Artist: Kenojuak by the National Film Board. In 1970, her print The Enchanted Owl was reproduced on a stamp commemorating the centennial of the Northwest Territories. In 1993, Canada Post selected her drawing The Owl for their 86-cent stamp. Kenojuak is a Companion of the Order of Canada and has been awarded Honorary Degrees from Queen s University and the University of Toronto. In 1996, she received the prestigious Lifetime Aboriginal Achievement Award, and in 2001 she was inducted into Canada s Walk of Fame. Kenojuak is currently the senior member of the Cape Dorset group of graphic artists. And I Quote: I just take these things out of my thoughts, and out of my imagination, and I don t really give any weight to the idea of its being an image of something. In other words, I am not trying to show what anything looks like in the material world. I am just concentrating on placing it down on paper in a way that is pleasing to my own eye, whether it has anything to do with subjective reality or not. And that is how I have tried to make my images and that is still how I do it and I haven t really thought about it in any other way than that. That is just my style, and that is the way I started and that is the way I am today. - From An Interview With Jean Blodgett, 1980 Art Terms Zoological Art: An artwork in which animals are the primary subject. Design: The composition of an image, i.e. the overall organization of elements in a drawing, painting, print, or sculpture. Print: An image made indirectly by a process in which a surface prepared to transfer ink is pressed against another surface, usually paper, which receives the ink. 71

8 Stonecut Print: A common technique used to make prints in the Canadian Arctic, whereby a drawing is traced onto a stone slab, the areas that are not to be printed are chiseled away, the carved image is covered with ink, and, finally, the image is transferred to paper. Resources The Canadian Encyclopedia: Kenojuak Ashevak A detailed biography featuring selected works, suggested readings, and external links. Cybermuse: Meet the Artist A series of video clips featuring Kenojuak Ashevak discussing her work and her life as an artist. Gallery Elca London: Kenojuak Ashevak A digital gallery of more than 35 works by Kenojuak Ashevak, including an accompanying biography. Design The Incredible Art Department: Elements And Principles of Design An exploration of the elements and principles of design with accompanying activities and illustrations. 72

9 Inuit Art And Culture Iqqaippa: Celebrating Inuit Art A website dedicated to the celebration of Inuit art, which includes an exhibition and brief history of Inuit art, information on Inuit culture and art making, and related links. The Virtual Museum of Canada: Holman Forty Years of Graphic Design An excellent resource for teachers, this site features detailed lesson plans that explore design through Inuit art. Lesson plans include videos and links. The Centre for Contemporary Canadian Art: Inuit Artists Project A detailed list of Intuit artist biographies, a community map, legends and stories, and Inuit music samples offered by the Centre for Con temporary Canadian Art. Cybermuse: Drawings in Contemporary Inuit Art A collection of lesson plans for Grades K-12 that provides an introduction to contemporary Inuit prints and drawings in the National Gallery of Canada s collection. 73