The first catalogued collection of graphic art was produced in the Cape Dorset print studio in 1959 and the practise of producing an annual collection of prints continues to this day.  In the 60's, any Inuit still lived in camps and would make drawings there in their traditional environment. During the next visit to the trading post, the artists would present their finished work for sale in the hope of having one or more made into limited edition stonecuts, stencils, or engravings.

Today, most artists work in their homes in Cape Dorset and more recent printing techniques also include lithographs, etchings and aquatints. Although many of the early artists are now deceased, a new generation has emerged, also expressing their unique vision in strong compositions and compelling images.

Washi has been used from the very beginning in Cape Dorset for both stencil prints and the stonecuts, often mixing the two techniques in the same print.

In 2003, The Japanese Paper Place arranged for a family of 3 Japanese papermaking generations to visit Cape Dorset, to introduce them to the printmakers who were using their paper. The highlight was the presentation by the Co-op of one of Kenojouak's "Golden Bird" stonecut to the Osaki family, a magnificent glowing print on fine seichosen kozo.

In addition to being aesthetically appealing, Inuit works on paper offer invaluable documentation and insights into a culture that endured largely untouched until the middle of the 20th century.

If you would like to read more about this fascinating piece of Canadian art history, check out the new book release by Leslie Boyd called Cape Dorset Prints: a Retrospective or to purchase a print visit www.dorsetfinearts.com.