Although Inuit Sculpture may appear to be homogenous to the untrained eye, the stone as well as the style varies greatly from region to region. The total Inuit population of over 30,000 is widely distributed across Canada's Northwest Territories, Yukon, and Nunavut. Each of the communities which produce art has developed its own favourite subject matter and sculptural style, which is partly determined by the stone with which the artists have to work with. Briefly, these areas are described below.

Map of Arctic Communities

Baffin Island

      This includes the communities which are most famous for Inuit Art: Cape Dorset, Lake Harbour, and Iqaluit [formerly Frobisher Bay]. The hard stone from the lower part of this region is known as serpentine and has a composition similar to jade. It ranges in colour from light green to brown to black, often with gold veining, depending on the mineral content.

      Overall, the most promising and imaginative artists tend to live in the lower Baffin Island. Their sculptural style is strongly stylized, often with dramatic, flamboyant flair and intricate detailing. There is often a certain heroic realism in animal and human subjects, the artists working in large scale in portrayals of dramatic and emotionally charged shamanic or mythological images. Animals, particularly bears, caribou and muskoxen, are depicted realistically, but often in unusual and heroic poses or with great exaggeration. A sense of humour and whimsy results in images such as dancing walruses or bears. Sculptures have soft, undulating outlines and are brilliantly polished

Keewatin Region

      In this area, Baker Lake is the most famous community for Inuit Art. It is also the only inland community in the Arctic. This area region northwest of the Hudson Bay is filled with a very hard and dense grey or black volcanic stone, known as basalt (prior to the glacier age this area was mountainous).

      Sculptural styles range from crude, primitive and simple stylization with few details to strict naturalism. Additionally, the stone is not highly polished -- the artist preferring a dull and rough effect. Predominant subject themes are family/maternal scenes, muskoxen, and spiritual themes, especially that of transformation.

Central Arctic

      This area is very similar in style to the Keewatin region, with a heavy preference towards shamanic themes and legends. Often, the artists of the Central Arctic will do inlay work on their pieces, such as inlaid teeth and eyes. Exaggerated facial expressions are common as are contorted bodies, representing possession of the body by a spirit. Whalebone is also frequently used as it is plentiful in these areas. Like the Keewatin, sculpture is not highly polished. Here, the stone is black, sometimes with the inclusion of green olivine spots, or quartzite patches.

Western Arctic

      Artwork from these areas is usually smaller scale than the other areas of the arctic. Little scenes with many pieces attached are quite popular. Some artists work with ivory miniatures, which were originally encouraged by the local missionaries. The scenes that are most frequently carved are that of traditional life, such as an igloo scene, or dog sled, hunting scenes or camping scenes. The works from Coppermine will frequently have little pieces of copper attached to them.

Belcher Islands

      The one and only community on these islands, Sanikiluaq, was named after the legendary Inuit hunter who could outrun a wolf or fox. These islands are located in the lower part of Hudson Bay [which was formed by a meteor] and cover an area of 2000 square miles. The terrain of these islands is barren, rocky and wind-swept, adding to the island's isolation.

      The stone used for carving is a sedimentary rock known as limestone or argillite, and ranges from light green to almost a charcoal black, with a distinctive striped grain within the stone. The layering is prominent in most of the works, enhanced by the polishing.

      From this community, we see representations of Arctic wildlife; birds and marine mammals being the predominant subject matter, especially since they were dependent upon them for their survival. Here, the artists take a very naturalistic approach to their carvings -- what they see, they carve, although the artist may also add a certain amount of stylization such as using angular shapes. It is important to the Sanikiluaq artists to depict the carvings realistically in exact minute detail, often with etchings in the stone for the eyes, seal skin markings, parka detail, or feathers. Their respect for the natural world around them is revealed in the intensity and life-like realism of their carving.

Arctic Quebec

      There are a variety of styles from the Arctic Quebec communities, although all share the softer soapstone, which limits somewhat what they are able to do. The pieces, therefore, tend to be rounded and compact, with no protruding appendages. The soapstone is a grey colour, but most artists blacken the stone and then polish it (often using shoe polish).

      The most common subject matter is that of people and family-oriented themes, including mother and child. Since the softer stone is easier to work with, some artists, unfortunately, mass produce their works. Because of this, the value of the sculpture from this area is diminished. Soapstone damages quite easily; it can be scratched with a fingernail or even by a ring when holding a carving, and must be handled carefully.

Labrador (Newfoundland)

      Many Inuit communities are situated along the north-easterly coast of Labrador, and tend to be overlooked when considering Inuit Art. The family themes are prevalent here, as well as traditional life scenes. The Inuit of Labrador frequently do lovely inlay work on their sculpture, for example, having a face inlay of a different coloured stone or even a different material such as caribou antler or ivory.

      The serpentine from this area is a rich moss-green colour, although different colours are also available.