“Victoria Mamnguksualuk was one of the best-known Canadian Inuit artists of her generation. Born near Garry Lake, Northwest Territories, she lived a migratory existence on the land until she was in her early thirties. Because of widespread disease and famine in the hunting camps of the Barren Lands region, Mamnguksualuk and her family, like many Inuits, moved to Baker Lake in 1963. Mamnguksualuk was the daughter of Jessie Oonark (c.1906-1985), one of the best known of all Inuit artists. Both mother and daughter became active in the artistic co-operative at Baker Lake.
As a second generation Inuit artist to live in the settlements, Mamnguksualuk’s art has been somewhat influenced by her exposure to images from outside [the Canadian Arctic]. More than some of her predecessors she used the conventions of European art in her depictions of three-dimensional space and sequential action. Her work was characterized by its complex scenes involving multiple figures and vigorous activity. Mamnguksualuk is particularly interested in the depiction of Inuit myth.” Janet Catherine Berlo in “North American Women Artists of the Twentieth Century: A Biographical Dictionary”, 1995
“Victoria’s husband, Samson Kayuryuk, creates carvings, prints and drawings. Their son, Paul Aglakuaq Kayuryuk, is also an artist. Victoria was the daughter of Jessie Oonark and most of her brothers and sisters are artists: Janet Kigusiuq, Nancy Pukingrak, Peggy Qablunaaq Aittauq, Mary Singaqti Yuusipik, Josiah Nuilaalik, Miriam Marealik Qiyuk and William Noah.”