Born in 1970 (Coral Harbour, Nunavut)

Kupapik Ningeocheak (b. 1970, Coral Harbour/Salliq, Nunavut) is one of the most distinctive and respected stone sculptors to emerge from the Canadian Arctic in the last three decades. Known for his monumental abstract sculptures and powerful transformation figures, Ningeocheak has developed a striking visual language rooted in Inuit tradition but boldly contemporary in form and presence. His work stands apart for its physical weight, emotional mystery, and sculptural clarity—a blend of raw power and restraint that makes his pieces instantly recognizable.
He began carving in the mid-1990s, influenced by two major figures in Inuit contemporary art: Alex Alikasuak and George Arluk. He met both artists in Winnipeg, and their mentorship proved formative. Known for their abstract, modernist approaches to Inuit carving, they inspired Ningeocheak to explore transformation scenes—works that depict figures mid-way between human and animal form. Early in his career, Ningeocheak remarked, “[Alex Alikasuak and George Arluk] created transformations and abstract works, and I started doing them too.” Over time, he developed his own distinctive take on these themes, pushing the boundaries of form and material while staying connected to Inuit stories and ancestral imagery. His transformation pieces are deliberately enigmatic: the faces are often smooth, minimal, or featureless, drawing the viewer into an interpretive space and allowing imagination to take over. They evoke spirit worlds and shape-shifting beings, but resist fixed narratives.
Equally emblematic of his style are his owls—often crouched and heavy-bodied, with softly rounded heads and inlaid beaded eyes that lend a watchful, haunting quality. These birds, along with muskoxen, bears, and arctic fowl, are recurring subjects in his work, sculpted with a muscular, grounded energy that gives even small-scale pieces an imposing presence. His abstract compositions are not only visually compelling but also technically demanding; Ningeocheak often works with extremely hard types of local stone, such as serpentinite, and is known to quarry his own materials. He has commented that when he finds a particularly rich deposit of stone, he prefers to keep the location secret—though word often spreads among other artists.
In 1999, Ningeocheak was commissioned by the National Hockey League to create a sculpture for its Visions of Hockey collection. His carving of an Inuit hockey player was warmly received and went on to become a recurring motif in his practice, blending contemporary Inuit identity with national Canadian symbols. The commission marked a turning point in his visibility and career, bringing wider attention to his work. Since then, he has become widely regarded as one of the leading carvers of his generation, especially within Nunavut, where his reputation is one of deep respect and admiration.
Though his practice began in Coral Harbour, Ningeocheak has carved in several communities across the Arctic, including Sanikiluaq and Kangiqliniq, before eventually settling again in Salliq, where he continues to live and work. He is deeply connected to the North, both culturally and materially, and his sculptures reflect a profound sense of place. His works are now held in major public and private collections, including the Musée national des beaux-arts du Québec, and continue to be exhibited in galleries across Canada and internationally.
Kupapik Ningeocheak’s career is a testament to the power of Inuit carving as both a contemporary art form and a living expression of cultural continuity. His work challenges and expands conventional ideas of Inuit sculpture—embracing abstraction, inviting interpretation, and creating space for both tradition and transformation. With each piece, he offers something deeply personal yet universally resonant: a quiet, monumental presence that stays with the viewer long after the encounter.