This sculpture is likely from Taloyaok or Gjoa Haven, both in the Kitikmeot region of the Northwest Territories. While Pelly Bay was known for its miniature ivory carvings, large whalebone sculptures are much more typical of those other regions. The Netsilingmuit “people of the seal,” were the last communities to be influenced by southerners (or forced into settlements) and did not develop carving programs until the late 1960s. In 1965, the government shipped a large quantity of whalebone from Somerset Island to Taloyaok, as it had been left there by the Thule and European whalers. This material was not found locally, but thanks to the popularity of Karoo Ashevak, quickly became associated with sculpture from Taloyaok. Sculpture from this region typically depicts shamans, mythical beings and spirits in expressive and often fantastical forms.

Given the playful appearance of this work, it is probable that the artist was influenced by Karoo Ashevak, who frequently worked in whalebone and produced numerous humourous and dynamic sculptures. This spirit figure with expressive face incorporates the rounded contours and almost ghostly forms of Ashevak’s work and maintains a whimsy typical of Taloyoak whalebone sculpture.