[1][2][3] Anguhadluq grew up living traditionally off of the land in the Back River area and by the age of 28 was considered to be a mature hunter and eventually a respected camp leader.
[5] A famine, resulting from a shift in the migratory patterns of caribou away from Back River, caused Anguhadluq and his extended family to leave the area.
[2][4] As per his wishes, Anguhadluq was not buried in the Anglican cemetery and his body was instead taken by dogsled to a hill overlooking Baker Lake where he spent many hours watching for caribou.
[5] Anguhadluq took advantage of the crafting materials that were easily accessible in Baker Lake and created drawings, prints and sculptures early in his career.
[5] Some of Anguhadluq's prints were sent in a collection to the Canadian Eskimo Arts Council, which resulted in the creation and development of a printmaking initiative in Baker Lake in 1969.
Later drawings used graphite and coloured pencil on handmade paper to show often larger figures, more balanced on the page than in previous works.
He also began to incorporate multiple perspectives during this period, which centred around a central point or figure in order to illustrate complicated events and to express his own lived experiences of time and space.
[8] Works by Luke Anguhadluq are at the Agnes Etherington Art Centre (Kingston, ON), Canadian Guild of Crafts Quebec (Montréal, QC), Canadian Museum of History (Hull, QC), Klamer Family Collection, Art Gallery of Ontario (Toronto, ON), Victoria and Albert Museum (London, UK), Edmonton Art Gallery (Edmonton, AB), the National Gallery of Canada (Ottawa, ON), Musée national des beaux-arts du Québec (Québec, QC) and the Museum of Anthropology, University of British Columbia (Vancouver, BC) among others.