Niviaqsi, also known as Niviaksiak, was one of the foundational artists of the Kinngait (Cape Dorset) print movement and among the first Inuit creators to bridge traditional lifeways with modern artistic expression. Born in 1908, he lived much of his life as a hunter before taking up drawing in the late 1950s. Though his career was cut short by his untimely death in 1959, Niviaqsi’s work had a lasting influence.

Created shortly before his death, Man Hunting at Seal Hole remains Niviaqsi’s most iconic and widely reproduced image. The print uses the stonecut technique to depict a standing Inuit hunter in a moment of poised concentration, spear in hand, above a single tiny breathing hole in the ice. The figure, rendered in bold curved lines and deep mottled blue, dominates the image. Its scale contrasts sharply with the minuscule seal hole, creating a striking tension that mirrors the discipline and patience required of the traditional hunt.

The composition stands out for its clear, uncomplicated design and careful use of space. The hunter’s figure suggests a balance of strength and calm, with the upright spear providing a strong visual focal point. The open space around the figure reflects the wide, quiet arctic landscape, reinforcing the stillness of the moment. This stillness is not just visual but reflects the reality of the hunt, where the hunter must wait motionless, sometimes for hours, for a seal to surface at the breathing hole in the ice.

The emergence of printmaking in Cape Dorset in the late 1950s marked a watershed in the history of Inuit art. While the Inuit of West Baffin Island had long expressed creativity through carving, appliqué and incising, full-time art-making was rare. That changed in 1957, when artist James Houston introduced printmaking to Inuit communities as both an economic opportunity and a new visual language. The response was enthusiastic. Houston began soliciting drawings from Niviaqsi that same year.

Two years of experimentation culminated in the release of the first Cape Dorset print collection in 1959. Niviaqsi contributed nine images, eight of which were included in the debut catalogue, firmly establishing him as one of the studio’s leading early figures. Man Hunting at Seal Hole remains a cornerstone of Canadian art history and a symbol of the transformative power of early Kinngait printmaking. It represents not only Niviaqsi’s legacy as an artist but also the emergence of Inuit graphic art as a vital part of the national cultural landscape.

This work was published and printed by the West Baffin Eskimo Co-operative, Kinngait (Cape Dorset), Canada, from an edition of 30. The sheet size is 24 × 18 inches (61 × 45.7 cm). Printmaker: Iyola Kingwatsiak (1933 – 2000).

The Museum of Modern Art in New York has an impression of this print and another by Niviaqsi, Polar Bear and Cub in Ice (1959), in its collection.

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