pootoogookfinal
TRANSCRIPT
Sulijuk, The Truth: Themes in the Work of Annie
Pootoogook
Nathan Fong
ARCH 647 CM&T Studio
Ricardo Castro
1
Sulijuk, The Truth: Themes in Annie Pootoogook
Introduction
Born in 1969, Annie Pootoogook is an Nanuvut artist who records the modern Inuit
environment.1 Pootoogook draws from the details of her own life from mundane like
eating dinner, and watching television to family violence. Using representations of these
daily objects, she explores universal themes in her art. She won the Sobey Arts Award
for Canadian artists under 40 in 2006. Pootoogook comes from a family with women
artists. Napachie Pootoogook, her mother who died in 2002, created normative art is
reflected below as more of a normative which romanticized traditional Inuit life. This is
reflected in the drawing, Winsome Travellers.
1 “Annie is an instinctive chronicler of her times. She shares this sensibility with her mother and her grandmother, both of whom used their drawings to share their way of life with an outside audience. Taken together, the work of these three women reveals the profound changes that have taken place among Inuit in Canada's far north over the span of the last 50 years. Annie's drawings reflect her experience as a contemporary female artist living and working in the changing milieu of Canada's far north. Although firmly rooted to the specifics of her time and place, she manages to transcend cultural boundaries and present the details of her everyday life in an engaging way, inviting the viewer into both her public and private worlds. From the apparently mundane (the line-up for the ATM machine at the Co-op store, watching television with her family) to the personal and intimate (her experience with spousal abuse, the loss of her mother) Annie expresses a wide range of content and emotions. Annie's work has been represented in several commercial exhibitions since 2002, including her first solo exhibition at Feheley Fine Arts in Toronto in 2003 entitled "Moving Forward". Her work attracted the attention of the prestigious Power Plant Gallery in Toronto, where her solo exhibition ran throughout the summer of 2006. Annie spent the summer of 2006 in Dufftown, Scotland where she was artist-in-residence at the Glenfiddich Distillery "Spirit of Creativity" program. She went on to win the prestigious Sobey Arts Award in October, 2006.” Dorset Fine Arts, Available at http://www.dorsetfinearts.com/artist_annie_pootoogook.html, Accessed April 26, 2011.
2
Winsome Travellers, Napachie PootoogookMedium: Etching, aquatint, Available at http://www.spiritwrestler.com/exhibitions/cape_dorset_2003.html, Accessed on April 28, 2011.
Within and Without the Tradition
This painting completed by Napachie Pootoogook is unlike her daughter Annie’s
work. The “normal” Inuit tradition of portraying nostalgia of their former lives within
a fishing community, living in igloos off the northern lands. In both her
grandmother’s Pitseolak and her mother’s Napachie, works, Annie Pootoogook is
unlike the “normal” Inuit tradition of portraying their own lives of the past as a
nostalgic fishing community living in igloos and off the northern lands. Along with
her grandmother, Pitseolak, and her mother, Napache, there is the sense of entering
the there is the sense of entering the feminine domain of drawing. Men create
3
sculptures that are bought and sold in the international market. Women on the other
hand are closely associated with drawing. 2
Along with their tradition notion of frankness and authenticity, the younger
Pootoogook, Annie, practices the concept of “sulijuk” which means “it is true”. It
embodies the sense of liveliness and realism.3 This sense of depicting the “real”
pervades many of her paintings including scenes of domestic abuse, criminal acts and
mental health issues.
Man Abusing His Partner. (All drawings are by Annie Pootoogook unless noted
otherwise).
2 “Pootoogook and her mother visited her often to watch her work. The experience is depicted in this drawing, which shows Pitseolak in profile (her characteristic thick-rimmed glasses clearly visible) next to her two rapt descendents. Among other things, the picture is a heartfelt symbol of the female tradition in Inuit drawing; Inuit men, for the most part, are associated with sculpting.” David Balzer, “Culture Clash:Annie Pootoogook Captures Canada’s North-South Divide”, CBC.ca, June 27, 2006, Available at http://www.cbc.ca/arts/photoessay/pootoogook/index2.html, April 25, 2011.3 Emily Elisabeth Auger, The Way of the Inuit: Aesthetics and History In and Beyond the Arctic, Jefferson, N.C.: McFarland, 2005, p.108.
4
“Shooting a Mountie”.
Jenny Fraser, an art historian, observed:
[Pootoogook’s] focus is on scenes of prosaic domestic tranquility as well as domestic abuse — her own and that of other Inuit women — mental illness and alcohol abuse. Unflinching, she depicts modern Inuit life as she sees it, rather than producing the traditional scenes that people in southern Canada have come to expect. There is tradition in Pootoogook's work, however. It is the Inuit concept of sulijuk, meaning when something "is true or real." Her focus is on scenes of prosaic domestic tranquility as well as domestic abuse — her own and that of other Inuit women — mental illness and alcohol abuse.4
4 Jenny Fraser, “Interior spaces, northern places: Nunavut artist Annie Pootoogook's artwork is observational and narrative”. Canadian Medical Association Journal, October 24, 2006; 175 (9). doi:10.1503/cmaj.061187, http://ecmaj.ca/cgi/content/full/175/9/1100.
5
The Depiction of Everyday life including Southern Imperialism from Canada
The tourist gaze is directed to features of landscape and townscape which separates them off from everyday experience….The viewing of such tourist sights involves different forms of social patterning, with a much greater sensitivity to visual elements of landscape…than normally found in everyday life. People linger over such a gaze which is then normally visually objectified or captured through photographs, postcards, films, models and so on. These enable the gaze to be endlessly reproduced and captured. … All over the world the unsung armies of semioticians, the tourists, are fanning out in search of the signs of Frenchness, typical Italian behaviour, exemplary Oriental scenes, typical American thruways, traditional English pubs’. John Urry in the Tourist Gaze 5:
As we mentioned above, Pootoogook, eschews traditional Inuit motifs that are part of
the “tourist” gaze of the Other. In “First Tourist”, an Inuit stands in front of the
stereotypical symbol of Inuit culture, the Inukshuk, which one can see on television
or even tourist curio shops. It is as if the Inuits are to be consumed as souvenirs for
the south. Here, the Inuit is expected to play the role of the stereotypical “Inuit”. Is it
a nod to Robert J.Flaherty’s 1922 “documentary”, Nanook of the North? We, the
southern tourist, are invited to gaze upon the southerner gazing at the Northerner.
Who is the Other here, then, the southerner or the northerner or both?
5 John Urry, The Tourist Gaze, Second Edition, London: SAGE, 2002, p. 3.
6
First Tourist.
The watching of seal hunting on television through “tourist” eyes. Available at http://www.feheleyfinearts.com/gallery/exhibitions/pootoogook/index3.shtml, Accessed April 28, 2011.
Once again we can ask “Is it a nod to Robert J.Flaherty’s 1922 “documentary”, Nanook
of the North?” We, the southerners are invited to view the southern televised view of seal
hunting by Inuits. Is it a sly critique of the modern Inuit and the loss of its culture or a
critique of the southern way of life that has crept into the Inuit way of life?
This sly dichotomy continues in the domestic field where Pootoogook reveals the Inuit
home with televisions which let them explore both southern programs or the APTN
(Aboriginal People’s Television Network). Are Inuit eyes taking on the imperialist eyes
of the south here? Are they learning how they are or were? Is it “documentary” or is it the
7
theft of an identity for an ersatz stereotype? The cultural imperialism of the south
permeates the Inuit domestic space as well. Pat Feheley, who sells Pootoogook’s works
commented "It's depicting Inuit lifestyle but in her case it's immediately contemporary
lifestyle, so that there's the culture, southern and northern... You'll see a family sitting
down to a meal with ketchup and co-op bought food with a seal". 6
Note the seal, the red tool box and the Red Rose Tea.
6 TinaRose, “Mother, daughter art team capture contemporary Cape Dorset. Toronto exhibit shows some of the darker realities of Inuit life”, Nunatsiaq Online, June 24, 2005.Available at http://www.nunatsiaqonline.ca/archives/50624/news/nunavut/50624_11.html, Accessed at April 29, 2011.
8
Family Dinner with Ketchup (a southern infiltration), Available at http://www.nunatsiaqonline.ca/archives/50624/news/nunavut/50624_11.html#name, Accessed April, 28, 2011.
These images show that southern consumerism has penetrated the Inuit way of life.
Beyond the ketchup, there is television, the red tool box and the very southern Red Rose
tea.
9
10
Conclusion
Hailing from a long line of artists, Annie Pootoogook has successfully broken away from
the traditional Inuit themes of whales and hunters to embrace the modern world capturing
a modern sense of silijuk. The themes are honest and contain calm domestic scenes as
well as violent images between spouses or with the police. As well, she documents as
well the creeping consumerism from the south.
11
Bibliography
Auger, Emily Elisabeth. The Way of the Inuit: Aesthetics and History In and Beyond the
Arctic, Jefferson, N.C.: McFarland, 2005.
Balzer, David. “Culture Clash: Annie Pootoogook Captures Canada’s North-South
Divide”, CBC.ca, June 27, 2006, Available at
http://www.cbc.ca/arts/photoessay/pootoogook/index2.html, April 25, 2011.
Dorset Fine Arts, Available at http://www.dorsetfinearts.com/artist_annie_pootoogook.html, Accessed April 26, 2011.
Fraser, Jenny. “Interior spaces, northern places: Nunavut artist Annie Pootoogook's artwork is observational and narrative” Canadian Medical Association Journal • October 24, 2006; 175 (9).
Rose, Tina. “Mother, Daughter Art Team Capture contemporary Cape Dorset. Toronto exhibit shows some of the darker realities of Inuit life”, Nunatsiaq Online, June 24, 2005. Available at http://www.nunatsiaqonline.ca/archives/50624/news/nunavut/50624_11.html, Accessed at April 29, 2011.
Urry, John. The Tourist Gaze, Second Edition, London: SAGE, 2002.
12