Untitled (Masturbating Woman), 1975, expresses a frankness toward sexuality that is seldom seen in the work of Inuit artists. Other sculptures by Oviloo draw on everyday experiences of the body, such as Nature’s Call, 2002, which depicts a woman on a toilet with her pants around her ankles. Serpentinite and quartz crystals (Kangiqsuqutaq/Korok Inlet), 44.4 x 25.4 x 22.9 cm, signed with syllabics, Collection of Jamie Cameron and Christopher Bredt In Diving Sedna, 1994, wet hair flows sensuously around full breasts. They were not inspired by a desire to tell the sea spirit’s story but are expressive presentations of the female body. In 1992, Oviloo stated, “My favourite work is on Taleelayu-women figures.” Her depictions of the sea spirit Taleelayu, or Sedna, are strong, voluptuously nude women with whale flukes instead of legs. Oviloo is the first Inuit stone carver to repeatedly create the nude female form, in works such as Woman in High Heels, 1987. They wear culturally unspecific robes, or they are nude. Many of Oviloo’s female figures are even more unconventional. Serpentinite (Kangiqsuqutaq/Korok Inlet), 50.5 x 29.5 x 37.0 cm, signed with syllabics and dated 1997, Collection of John and Joyce Price Oviloo Tunnillie, Ikayukta Tunnillie Carrying Her Drawings to the Co-op, 1997 Despite some similarities with late work by graphic artist Napachie Pootoogook (1938–2002), this degree of specificity about family and relationships has been rare in art by Inuit. Even her sister Nuvalinga appears in My Sister Nuvalinga Playing Accordion, 2005. In sculptures Oviloo acknowledged women family members who were also artistic: her mother, Sheokjuke (1928–2012), in the self-portrait Woman Showing a Drawing, 2006 and her husband’s grandmother, Ikayukta Tunnillie (1911–1980), in Ikayukta Bringing Drawings to the Co-op, 2002, and Ikayukta Tunnillie Carrying Her Drawings to the Co-op, 1997. Serpentinite (Kangiqsuqutaq/Korok Inlet), 34.5 x 29.2 x 16.0 cm, signed with syllabics, Collection of John and Joyce Price Oviloo Tunnillie, Oviloo and Granddaughter Tye Holding Photo by Jerry Riley, 2002 In 2002, Oviloo created a sculpture showing herself and a twelve-year-old Tye proudly holding the framed photograph by Riley ( Oviloo and Granddaughter Tye Holding Photo by Jerry Riley). A photograph of Oviloo “packing” (or carrying) Alasua’s daughter, Tye, whom Oviloo adopted, in her amautik, taken by Canadian photographer Jerry Riley in 1990, was used on the cover of an issue of Inuit Art Quarterly in 1992. She holds an axe in one hand and a piece of carving stone in the other. For example, in 2000, she carved Self-Portrait with Daughter Alasua in 1972, depicting herself with her oldest daughter as an infant in her amautik (parka). Oviloo’s role as a mother was always important to her, and she would represent her maternal relationships in carvings, blending the two aspects of her identity. Serpentinite (Kangiqsuqutaq/Korok Inlet), 40.6 x 45.7 x 19.1 cm, signed with syllabics and dated 2000, Feheley Fine Arts, Toronto Oviloo Tunnillie, Self-Portrait with Daughter Alasua in 1972, 2000 I want women to be strong, to try and use their talents.” Women are homemakers and mothers, but also women are carvers now. People would see it as man’s work, but today the woman has to be recognized more. If a woman was a carver it was a very unusual thing. She has explained: “At one time, when I was younger, I was shy, almost embarrassed to carve. She was aware that her interest in carving differed from normal social roles within her Inuit culture, but she never wavered in her non-traditional role of a female sculptor. In many ways, Oviloo’s art can be seen through a feminist lens. Indeed, other than Oviloo, only Lucy Tasseor Tutsweetok (1934–2012) has cultivated a significant reputation with international audiences. While it was not uncommon for women to take up carving, particularly in communities less focused on graphic art, it was men whose work gained widespread attention. Kinngait (Cape Dorset) artist Oviloo Tunnillie (1949–2014) is one of few women to have gained national recognition as a stone carver in Canada.
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