Curated by Candice Hopkins, Double Vision<\/em> brings together a selection of nivinngajuliaat (wall hangings), produced in the 1960s in Qamani’tuaq (Baker Lake) through a government-sponsored craft program, as well as drawings and collages. Made by seamstresses in the community, the tapestries incorporate graphic appliqu\u00e9d images, often enhanced with embroidery, representing abundant ecologies of entwined humans and other animals. The composition of these distinct worlds doubles as an invitation into the matriarchies that created them. Women artists in Qamani’tuaq \u201cmentored one another in producing unique aesthetic and conceptual lineages,\u201d the exhibition\u2019s website notes, and these bonds and intergenerational teachings register across the exhibition as a whole.<\/p>\n\n\n\n

Upon entering the gallery, an immediate prompt to engage with the breadth of works throughout is offered by Oonark\u2019s Untitled<\/em> (1973\u200a\u2212\u200a75). Installed on a bright-yellow wall, the textile is of a single figure whose forward-facing stance is framed by graphic patterns, posed above a group of people and dogs on a boat engaging with one another through touch and gaze. One of the figures floats alongside the boat but is tethered to it by a rope, by accident or on purpose. The shape of the work is suggestive of a stereoscopic image in both its use of doubling and its rounded crest. As with a stereoscope, through which a three-dimensional effect is produced by viewing two images simultaneously, conceptual and emotional depth is facilitated here through replication and duplication, just as stories and skills are passed on from mother to daughter, from teacher to learner.<\/p>\n\n\n\n

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$\"DoubleVision_vuedexposition\"$ <\/figure>\n<\/div>\n\n\n\n
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$\"DoubleVision_vuedexposition\"$
Double Vision: Jessie Oonark, Janet Kigusiuq, and Victoria Mamnguqsualuk<\/em>, exhibition view, 2022.
Photo: Darren Rigo, courtesy of the Textile Museum of Canada, Toronto<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
Appearing almost as an exhibition within an exhibition, another of the compelling encounters offered in Double Vision<\/em> is a series of paper collages by Janet Kigusiuq, made late in her career when arthritis kept her from continuing to produce her signature densely detailed drawings. The fragile and ethereal colour fields denote sky, land, and seascapes meeting along unbounded horizons. Several hint at structures and figures, made material even in their abstraction through the careful composition of bright blues, greens, yellows, and pinks and dark planes of purple and black.<\/p>\n\n\n\n
Motifs of this world and the otherworldly punctuate the exhibition\u2019s many narrative forms. Hopkins noted in one of her curatorial tours that the figures of these various bio-networks are often depicted as merging into and out of one another\u200a\u2014\u200apointing to deeply held kinship systems within and across species and to verdant communities quite literally stitched together across matriarchal lineages.<\/p>\n\n\n\n
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Victoria Mamnguqsualuk<\/strong>
Woman with Too Many Children<\/em>, detail, 2001.
Photo: Darren Rigo, courtesy of the Textile Museum of Canada, Toronto<\/figcaption><\/figure>\n
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