Untitled (I’m still working on it)
Leanne Inuarak-Dall
See it On Campus: Level 2
Opus Art Supplies Graduation Award BFA — Winner
2025 | sealskin, caribou antler, glass beads | 127 x 110cm with frame / 20 x 30 x 10 cm without fringe
Untitled (I’m still working on it) is a series that begins with materials (a sealskin hide, caribou antler) that have been gifted to me. These resources have been partially used for other projects, and have been beaded while under my care. The intention is they will continue to be exchanged and transformed in the future. Untitled (I’m still working on it) highlights community networks, alternative economies and the transference of knowledge embedded in the process of making. This series looks at wrapping, stitching and beading as reciprocal acts of mending.
Arnaak (two women)
2024 | Sealskin, mylar, cardboard, glass beads, rope and wood | 127 x 110 with frame
Arnaak (two women) combines beadwork with familial photographs to fill the gaps left behind in a partially utilized sealskin hide. This work looks at motifs and traditions related to sewing and clothing, maternal labour and honouring the spaces between through the act of repair.
Ajaraaq (string figures)
2024 | Rope, yarn, wire, metal clips, artificial sinew, caribou hair and fox fur | Dimensions variable
Inspired by string figures/cat’s cradle, this series looks at the game which also acts as a pastime, teaching tool and storytelling object. Utilizing techniques of wrapping, this project acts as a material exploration hoping to capture some of the magic and movement of ajaraaq.
240 Years of Progress
2024 | Cotton, antique glass beads, tapestry thread and steel grommets | 117 x 160 cm
Drawing from my interest in the history of my hometown of Belleville, Ontario—an early Loyalist settlement—240 Years of Progress contains images from the Community Archives of Belleville and Hastings County. Featuring photographs from patriotic plays, teaching slides, maps and postcards adorned with antique trade beads, this flag explores cyanotype printing as a means of bringing to light images and their role in mythologizing a nation’s identity.
Below is a series of digitally collaged postcards created with images from the same CABHC photographs
