This chapter describes Ilakka by Gayle Uyagaqi Kabloona, made in 2023 and measuring 35 cm high and 20 cm wide at the base and 12 cm wide at the top. It is a minute and a half long.
Behind you and to your left, one metre away, there is a display case with three vessels of varying sizes. Ilakka is the largest! 35 cm high, if you were to run your hands up the sides from bottom to top, your hands would go out and in, out and in, four times, with the curves growing progressively small as you reached the top. They are slightly irregular, and the exterior has not been glazed, so the reddish-brown clay feels dry and slightly rough. Instead of an overall glaze, Kabloona dipped her fingertip in white liquid clay and pressed it on the vessel while still wet, making dots all the way around, top to bottom. There must be hundreds! Each dot has then been turned into a face using tiny black brushstrokes: two eyebrows, two eyes, two dots for a nose and mouth. The variations of the brushstrokes change the identical faces into an array of expressions: smiling, frowning, stern. To top it off, each face is encircled with small red dots, creating the bright ruff of a parka hood. Kabloona’s use of her own biometrics is a way of literally imprinting herself, and all who came before her, on this object. This is echoed in the title’s translation: “my extended family.” 
Go to the next chapter to hear Kabloona talk about her artwork.