How Inuit Artists Have Used Pantone’s 2021 Colours of the Year

When Pantone chose Ultimate Grey and Illuminating—a pebbly grey and zesty yellow, respectively—as their 2021 colours of the year, they did so with the intention that the solidity and practicality of the grey and the warmth and optimism of the yellow would provide resilience and hope following a tumultuous 2020 whose effects will be felt long into this new year.

While many Inuit sculptures encapsulate the grey by virtue of their polished stone, the artists’ own resiliency in carving such a dense material and the enduring solidity of both the pieces themselves and their popularity reinforces how appropriate Ultimate Grey is as a metaphor for Inuit art.

It’s not just sculpture, however—Inuit artists have taken this grey and yellow across a wide variety of mediums, frequently using the yellow to illuminate the vitality of living things. In their appearances as a dynamic duo, this combination of solidity and optimism could be said to permeate Inuit art and artists, whose pieces endure and even thrive despite the barriers they face accessing materials and selling their work.

Keep scrolling to see for yourself the many ways Inuit artists have incorporated Illuminating and Ultimate Grey in their work.

Caroline Blechert Silver Chandelier Studs (2020) Caribou hair, delica beads, birch bark, silver 3.25 x 1.2 in each Courtesy the artist

Helen Kalvak Sea Monsters (1969) Print Courtesy IAF

Sakkiassie Anaja Untitled (shaman) (c. 1970) Whalebone 17.5 x 12 x 9 in Courtesy Marion Scott Gallery

Itee Pootoogook A Young Lady Wearing Amouti (2010) Coloured Pencil 22 x 15 in Reproduced with permission Dorset Fine Arts Courtesy Marion Scott Gallery © Itee Pootoogook

Mary Ayaq Anowtalik Untitled (family group) (2000) Stone 28 x 19 x 11 in Courtesy Marion Scott Gallery

Janet Nungnik Northern Lights (inside the Iglu at Night) (2002) Wool felt, embroidery floss and beadwork on wool duffel 60 x 14 in Courtesy Marion Scott Gallery

Tony Anguhalluq Light Green and Dark Yellow with Cracky Separate with Three Broken Rocks with Hills (2006) Coloured pencil on paper 12 x 9 in Courtesy Marion Scott Gallery

Couzyn van Heuvelen Nitsik 11 (2019) Aluminum, steel, stainless steel, paint and aircraft cable 54″ x 18″ Courtesy Fazakas Gallery

Janet Kigusiuq Untitled (people & dogs) (c. 1978) Coloured pencil and graphite on paper 22 x 30 in Courtesy Marion Scott Gallery

Eldred Allen untitled (morning frost) (2020) Digital photograph Courtesy the artist

Elisapee Ishulutaq Playing Ball (2016) Oil stick on paper 22.5 x 30 in Courtesy Marion Scott Gallery

Bibi Chemnitz Sermitsiaq Wool Sweater (2020) Lambswool and nylon Courtesy the artist

Agnes Nanogak Goose Two Decoys (1985) Print Courtesy IAF

Ashley Kilabuk Savard Sealskin and Silver Fox Earrings (2020) Sealskin, fox fur and silver Courtesy the artist

Mike Massie he had a wounded spirit (n.d.) Anhydrite, bone, ebony, mahogany, acrylic paint and brass 11 x 9.75 x 6.25 Courtesy Spirit Wrestler Gallery

Thomassie Echalook Composition (1973) Print Courtesy IAF

Holly Andersen Untitled (fox) (n.d.) Digital Photograph Courtesy the artist

Henry Napartuk Happy Fish (1973) Print Courtesy IAF

Vera Hatogina Hungry Owl (1988) Courtesy IAF

Billy Gauthier Shaman with Amulet (n.d.) Anhydrite, serpentine, labradorite, ivory and sinew 6 x 5 x 6 Courtesy Spirit Wrestler Gallery

Nicotye Samayualie Missing Tube Since February 13, 2016 (2016) Ink, oilstick and coloured pencil on paper 30 x 23 in Reproduced with permission Dorset Fine Arts Courtesy Marion Scott Gallery © Nicotye Samayualie