DaVic Gallery of Native Canadian Arts

08/29/2026

Paungat (Berries) by Shuvinai Ashoona (2025)
Coloured Pencil Drawing on paper
Paper (H x W): 25 x 38 in

We chose the subtitle ‘Paungat (Berries)’ for this untitled drawing because Shuvinai Ashoona has created a beautiful visual puzzle here. When you first look at the page, it looks like a winding network of branches, roots, and little plants growing across the tundra. But look closer, and you will see that every single rounded “berry” on these stems is actually a human face!

Shuvinai’s wild imagination loves to play games like this—taking something from nature and turning it into a person. The faces are drawn with simple, clean lines in blues, reds, and greys, and each one has its own unique expression. Some look happy, some look thoughtful, and others look right out at you. It is as if she looked at a patch of wild summer berries and immediately imagined a whole village of people growing together from the same roots.

In the North, gathering berries is an important, happy time when families go out on the land together. This artwork captures that cozy feeling of community and growth perfectly. It reminds us that we are all connected, like berries on a single vine. It is a wonderfully fun, friendly, and imaginative drawing that will bring a lot of life and conversation to any room.

https://nativecanadianarts.com/gallery/paungat-berries/

08/28/2026

'Betty and Violet' by Shuvinai Ashoona (2025)
Coloured Pencil Drawing on paper
Paper (H x W): 25 ¼ x 6 ¾ in

This drawing carries both visual and historical resonance. The inscription on the reverse — ‘Betty and Violet 1960–1970’s inside a grey nursing station’ — situates the work within a specific moment of Arctic social history, when nursing stations served as vital community centers across the North. The term ‘grey nursing station’ likely refers to the utilitarian prefabricated buildings used during that era, often painted in neutral tones and serving as hubs for medical care and social interaction.

In the composition, Ashoona presents two women — Betty and Violet — standing close together, their names embroidered on their jackets. The date ‘1967’ on Betty’s hat anchors the scene in time, while the bright clothing and attentive expressions convey dignity and quiet strength. The vertical format emphasizes their presence, turning an everyday setting into a portrait of resilience and companionship.

https://nativecanadianarts.com/gallery/betty-and-violet/

08/27/2026

Untitled (At Tasirtuq Tupik Hotel) by Shuvinai Ashoona (2025)
Coloured Pencil Drawing on paper
Paper (H x W): 38 X 25 in

Before stepping into the fantastical world shown here, it helps to understand how effortlessly Shuvinai Ashoona blends traditional Arctic life with brilliant, dreamlike imagination. A tupik is a traditional Inuit summer tent made of sealskin or canvas, built to welcome the return of warmer weather. By calling this cozy shelter a ‘hotel,’ Ashoona injects her signature modern wit into the scene, playfully comparing a classic seasonal camp to a bustling modern-day lodge where travelers from all walks of life come together to rest.

In ‘At Tasirtuq Tupik Hotel,’ Ashoona gives us a rare look at a truly extraordinary family gathering. The large vertical composition centers on a smiling human woman wearing a beautifully detailed floral headscarf, standing proudly alongside her walrus husband. At her feet, their small infant walrus child sports a bright blue parka, leaning down to gently pet a rabbit that is delightfully dressed in its own human winter clothing. The entire group is brought together inside the golden interior of the tent, bathed in a warm summer glow that makes the scene feel incredibly safe and inviting.

The real magic of this original drawing comes from Ashoona’s unmatched ability to show deep family love across different species. While the subject is wonderfully strange and surreal, the emotions feel completely real and grounded.

A compelling original work by one of Kinngait's most celebrated contemporary artists.

https://nativecanadianarts.com/gallery/at-tasirtuq-tupik-hotel/

08/26/2026

Untitled (A Nice Surprise) by Shuvinai Ashoona (2025)
Coloured Pencil Drawing on paper
23 x 15 in

Before this happy moment at the doorstep, the father likely spent hours out on the land or returning from a trip, carrying something special back for his family. In the cold climate of the Arctic, the return of a family member is always a moment of relief and connection. Here, Ashoona skips the vast landscapes to focus entirely on the tight-knit bond of the home, catching the exact second a father surprises his family, and everyone steps out to see what he has brought.

In ‘A Nice Surprise,’ Shuvinai Ashoona gives us a close-up look at the true warmth of everyday life in Cape Dorset. The drawing features a family of four bundled up in their winter gear, their faces alive with genuine curiosity and happiness. The mother leans forward in her purple parka, her green-gloved hands raised in excitement, while the father stands right behind her with a wide, proud smile. Next to them, the children peek forward in their bright red and blue coats, adding a wonderful sense of life and movement to the close family group.

A compelling original work by one of Kinngait's most celebrated contemporary artists.

https://nativecanadianarts.com/gallery/a-nice-surprise/

08/23/2026

Untitled (The Transplant) by Shuvinai Ashoona (2024)
Coloured Pencil Drawing on paper
30 x 23 in

‘The Transplant’ is an incredibly fitting subtitle for this captivating drawing, perfectly highlighting Shuvinai Ashoona’s signature blend of surrealism, gentle humor, and deep imagination.

In the artwork, we see a fascinating hybrid creature with a gracefully drawn female body from the chest down, capped by a massive, twisting purple te****le monster head. She walks along a vibrant green hillside next to a shimmering blue lake, creating a beautiful contrast between the alien, shifting texture of her form and the peaceful serenity of the landscape.

The storytelling here is wonderfully playful and open to interpretation. In one hand, she cradles a small pine tree with its roots entirely exposed, as if she is carefully carrying it to a new home—a literal and symbolic act of transplanting life. In her other hand, she carries a single blue sock with red trim, matching the one still on her left foot, while her right foot walks completely bare on the grass.

Upon closer inspection, a distinct, fine red scar is visible on the creature’s upper right thigh. This small, grounding physical mark introduces a layer of vulnerability and history to the figure, hinting at past journeys or survival. Shuvinai’s masterly use of colored pencils gives the entire piece a soft, inviting texture, inviting viewers to smile at the whimsical details while reflecting on deeper themes of identity, resilience, and transformation.

A compelling original work by one of Kinngait's most celebrated contemporary artists.

https://nativecanadianarts.com/gallery/the-transplant/

08/21/2026

Untitled (Historic Document) by Shuvinai Ashoona (2024)
Coloured Pencil Drawing on paper
50 x 89 ½ in

This extraordinary drawing captures a pivotal moment in the rhythm of Arctic life — the seasonal return to summer camp. Shuvinai Ashoona’s composition unfolds like a living documentary: families arrive carrying bundles, one man supports an injured companion, and two cameramen crouch in the foreground, recording the event. The figures are rendered with Ashoona’s characteristic empathy and precision, each gesture contributing to the collective story of endurance and reunion.

The scene suggests early summer, as the ice still requires testing with a pick for safety. The muted palette of browns, yellows, and soft blues evokes the fragile transition between seasons. In the background, children peer from a window, their faces animated with curiosity and excitement — a subtle reminder of continuity and generational connection.

At nearly seven and a half feet wide, this drawing is monumental not only in scale but in spirit. It reads as both historical record and imaginative reconstruction, bridging memory and observation. The title ‘Historic Document’ feels apt because Ashoona’s artwork transforms lived experience into visual testimony, preserving as a massive visual record of Inuit history and survival.

A compelling original work by one of Kinngait's most celebrated contemporary artists.

https://nativecanadianarts.com/gallery/historic-document/

Explore ‘Historic Document’ by Shuvinai Ashoona. A monumental 2024 Cape Dorset drawing of an Inuit summer migration. A true museum-sized masterpiece.

08/19/2026

Untitled (The Benevolent Giant) by Qavavau Manumie (2025)
Coloured Pencil Drawing on paper
30 ½ x 50 ¼ in

Before this moment of protection took place, a small group of Arctic families found their seasonal journey completely blocked by a dangerous stretch of broken, moving sea ice. Stranded at the edge of the open water with young children and heavy gear, they faced a frightening situation in the cold. In the traditional stories of the North, these moments of vulnerability are exactly when Inukpasugjuk—the kind-hearted giants of the tundra—step in to help. Moving with great care, this massive figure kneels down by the freezing water, using his own large body as a safe bridge for the travelers.

In ‘The Benevolent Giant,’ Qavavau Manumie creates a beautiful, deeply moving narrative scene. The central giant, drawn with soft textures and warm earth tones, is the heart of the artwork, his face showing a calm and focused expression. He gently extends a massive hand, allowing the tiny travelers to walk safely across his arm and step over isolated pieces of ice toward the solid shore. Manumie purposefully keeps the background completely white and simple, creating a vast sense of space that highlights the deep connection, trust, and vulnerability shared between the large protector and the people.

A compelling original work by one of Kinngait's most celebrated contemporary artists.

https://nativecanadianarts.com/gallery/the-benevolent-giant/

08/16/2026

'School of Fish Rescuing Humpback Whale' by Qavavau Manumie (2025)
Coloured Pencil Drawing on paper
25 ¼ x 50 ¼ in

A whale caught in nets, surrounded by buoys and lines — and yet, this is not a scene of despair. In ‘School of Fish Rescuing Humpback Whale,’ Qavavau Manumie reverses the expected narrative of predator and prey, offering instead a vision of empathy and cooperation beneath the waves. The whale’s massive form spans the length of the paper, rendered with Manumie’s characteristic clarity and quiet dignity.

Around it, hundreds of fish move in unison, their small bodies forming a shimmering current of rescue. The nets that once threatened the whale’s life become the visual counterpoint to the fluid motion of the fish, creating a tension between entrapment and liberation. Manumie’s mastery lies in his ability to turn this tension into poetry — a choreography of lines, colours, and rhythms that feels both urgent and serene.

A compelling original work by one of Kinngait's most celebrated contemporary artists.

https://nativecanadianarts.com/gallery/school-of-fish-rescuing-humpback-whale/

08/12/2026

Sajupilaktuq (Earthquake) by Qavavau Manumie (2025)
Coloured Pencil Drawing on paper
23 ¼ x 50 ¼ in

The earth trembles, and the Arctic breathes. In ‘Sajupilaktuq (Earthquake),’ Qavavau Manumie captures the instant when stability gives way to transformation — when the frozen world cracks open to reveal its restless heart. Jagged cliffs, shifting ice floes, and fractured soil stretch across the paper in a vast, panoramic rhythm. The drawing feels alive, as if the land itself were exhaling after centuries of silence.

Manumie’s precision turns chaos into beauty. Each fissure and contour is deliberate, each tonal shift between graphite and colour a whisper of movement. The composition unfolds like a slow-motion film: the moment before collapse, the shudder of release, and the quiet aftermath. It is both geological and emotional — a portrait of the Arctic’s strength and fragility.

The work’s scale amplifies its power. At over four feet wide, it invites the viewer to step inside the landscape, to feel the vibration beneath their feet. The contrast between warm earth tones and cool blues mirrors the tension between permanence and change. This is not destruction; it is renewal — the Arctic remaking itself, as it always has.

A compelling original work by one of Kinngait's most celebrated contemporary artists.

https://nativecanadianarts.com/gallery/sajupilaktuq-earthquake/

08/10/2026

Untitled (Rescuer) by Qavavau Manumie (2025)
Coloured Pencil Drawing on paper
15 x 22 ¼ in

Before this quiet moment of surrender, the hunter likely spent hours tracking his quarry across a vast, unforgiving expanse, pushing his body past its physical limits until his strength completely collapsed under the weight of the Arctic cold. Finding himself stranded far from camp and unable to walk, his hunt shifted from a pursuit of sustenance to a desperate struggle for survival. Now, a profound, mythic intervention takes place: the very animal he pursued steps forward not as prey, but as a voluntary protector.

A compelling original work by one of Kinngait's most celebrated contemporary artists.

https://nativecanadianarts.com/gallery/rescuer/