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Title: Renewal
Artist: Alaynee Goodwill-Littlechild
Exhibition year: 2025
“Renewal” beautifully captures the essence of rebirth and introspection. The artwork features a woman standing gracefully with her back to the viewer, symbolizing a moment of reflection and connection with nature. Surrounding her is a vibrant border of intricately detailed flowers, each bloom representing growth, vitality, and the promise of new beginnings. The juxtaposition of the woman’s serene posture against the lively floral frame invites the observer to ponder themes of renewal, femininity, and the cycles of life. This piece serves as a stunning reminder of the beauty found in both solitude and the natural world.
As a visual artist deeply connected to my cultural roots, I find inspiration in the traditional materials and techniques that have been passed down through my family. Working with mediums such as ledger art, printmaking, and digital art allows me to bridge the gap between the past and the present, creating pieces that honor my heritage while also speaking to contemporary audiences.
Ledger art, with its origins in the storytelling traditions of my ancestors, serves as a powerful tool for me to reclaim narratives and share the stories of my people in a visually striking way. Through this medium, I pay homage to the resilience and strength of indigenous communities, highlighting our experiences in a manner that is both visually captivating and emotionally resonant.
Incorporating printmaking into my practice allows me to explore themes of identity, spirituality, and connection to the land in a more tactile and hands-on way. By combining traditional printmaking techniques with modern influences, I am able to create pieces that speak to the complexities of indigenous identity in a rapidly changing world.
Digital art, with its endless possibilities and versatility, offers me a platform to explore new ideas and push the boundaries of traditional indigenous art.
Overall, my work as an indigenous artist is a reflection of my deep-rooted connection to my culture and my commitment to using art as a means of storytelling, healing, and empowerment. By exploring traditional materials, techniques, and themes in a contemporary context, I strive to create art that is both timeless and relevant, inviting viewers to engage with and learn from the rich cultural heritage of indigenous peoples.
Title: Renewal
Artist: Alaynee Goodwill-Littlechild
Exhibition year: 2025
“Renewal” beautifully captures the essence of rebirth and introspection. The artwork features a woman standing gracefully with her back to the viewer, symbolizing a moment of reflection and connection with nature. Surrounding her is a vibrant border of intricately detailed flowers, each bloom representing growth, vitality, and the promise of new beginnings. The juxtaposition of the woman’s serene posture against the lively floral frame invites the observer to ponder themes of renewal, femininity, and the cycles of life. This piece serves as a stunning reminder of the beauty found in both solitude and the natural world.
As a visual artist deeply connected to my cultural roots, I find inspiration in the traditional materials and techniques that have been passed down through my family. Working with mediums such as ledger art, printmaking, and digital art allows me to bridge the gap between the past and the present, creating pieces that honor my heritage while also speaking to contemporary audiences.
Ledger art, with its origins in the storytelling traditions of my ancestors, serves as a powerful tool for me to reclaim narratives and share the stories of my people in a visually striking way. Through this medium, I pay homage to the resilience and strength of indigenous communities, highlighting our experiences in a manner that is both visually captivating and emotionally resonant.
Incorporating printmaking into my practice allows me to explore themes of identity, spirituality, and connection to the land in a more tactile and hands-on way. By combining traditional printmaking techniques with modern influences, I am able to create pieces that speak to the complexities of indigenous identity in a rapidly changing world.
Digital art, with its endless possibilities and versatility, offers me a platform to explore new ideas and push the boundaries of traditional indigenous art.
Overall, my work as an indigenous artist is a reflection of my deep-rooted connection to my culture and my commitment to using art as a means of storytelling, healing, and empowerment. By exploring traditional materials, techniques, and themes in a contemporary context, I strive to create art that is both timeless and relevant, inviting viewers to engage with and learn from the rich cultural heritage of indigenous peoples.
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Title: Saaam medicine or powers of healing
Artist: Amber Weasel Head
Exhibition year: 2025
Amber Weasel Head is an Indigenous artist, Her roots are Blackfoot (Kainai) and Bitteroot Salish- Amber draws inspiration from her cultural, blood memory and the stories which reflects a connection in her artwork. She is inspired daily by her family, especially her husband and children.
Amber is passionate about nurturing and uplifting fellow artists. Her advocacy work aims to empower and mentor emerging artists while sharing invaluable techniques. Amber's dedication to teaching and supporting others fuels her creative journey.
Amber's artistic training spans from her own cultural teachings to various institutions such as the En'owkin Centre, University of Victoria, continuing education course from Institute of Institute American Indian Arts, Santa Fe (IAIA), and Portage College. These diverse educational experiences have honed her skills in paint, creative writing, digital arts, film, and beadwork.
Recently, she completed a residency at the renowned Banff Centre for the Arts and Creativity to further expanding her artistic horizons.
Amber aims to advance her artistic journey while sharing her knowledge. Inspired by her culture and roots, she believes art is healing and connects us to ourselves.
Title: Saaam medicine or powers of healing
Artist: Amber Weasel Head
Exhibition year: 2025
Amber Weasel Head is an Indigenous artist, Her roots are Blackfoot (Kainai) and Bitteroot Salish- Amber draws inspiration from her cultural, blood memory and the stories which reflects a connection in her artwork. She is inspired daily by her family, especially her husband and children.
Amber is passionate about nurturing and uplifting fellow artists. Her advocacy work aims to empower and mentor emerging artists while sharing invaluable techniques. Amber's dedication to teaching and supporting others fuels her creative journey.
Amber's artistic training spans from her own cultural teachings to various institutions such as the En'owkin Centre, University of Victoria, continuing education course from Institute of Institute American Indian Arts, Santa Fe (IAIA), and Portage College. These diverse educational experiences have honed her skills in paint, creative writing, digital arts, film, and beadwork.
Recently, she completed a residency at the renowned Banff Centre for the Arts and Creativity to further expanding her artistic horizons.
Amber aims to advance her artistic journey while sharing her knowledge. Inspired by her culture and roots, she believes art is healing and connects us to ourselves.
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Title: Innii paasakaan buffalo dance
Artist: Amber Weasel Head
Exhibition year: 2025
Amber Weasel Head is an Indigenous artist, Her roots are Blackfoot (Kainai) and Bitteroot Salish- Amber draws inspiration from her cultural, blood memory and the stories which reflects a connection in her artwork. She is inspired daily by her family, especially her husband and children.
Amber is passionate about nurturing and uplifting fellow artists. Her advocacy work aims to empower and mentor emerging artists while sharing invaluable techniques. Amber's dedication to teaching and supporting others fuels her creative journey.
Amber's artistic training spans from her own cultural teachings to various institutions such as the En'owkin Centre, University of Victoria, continuing education course from Institute of Institute American Indian Arts, Santa Fe (IAIA), and Portage College. These diverse educational experiences have honed her skills in paint, creative writing, digital arts, film, and beadwork.
Recently, she completed a residency at the renowned Banff Centre for the Arts and Creativity to further expanding her artistic horizons.
Amber aims to advance her artistic journey while sharing her knowledge. Inspired by her culture and roots, she believes art is healing and connects us to ourselves.
Title: Innii paasakaan buffalo dance
Artist: Amber Weasel Head
Exhibition year: 2025
Amber Weasel Head is an Indigenous artist, Her roots are Blackfoot (Kainai) and Bitteroot Salish- Amber draws inspiration from her cultural, blood memory and the stories which reflects a connection in her artwork. She is inspired daily by her family, especially her husband and children.
Amber is passionate about nurturing and uplifting fellow artists. Her advocacy work aims to empower and mentor emerging artists while sharing invaluable techniques. Amber's dedication to teaching and supporting others fuels her creative journey.
Amber's artistic training spans from her own cultural teachings to various institutions such as the En'owkin Centre, University of Victoria, continuing education course from Institute of Institute American Indian Arts, Santa Fe (IAIA), and Portage College. These diverse educational experiences have honed her skills in paint, creative writing, digital arts, film, and beadwork.
Recently, she completed a residency at the renowned Banff Centre for the Arts and Creativity to further expanding her artistic horizons.
Amber aims to advance her artistic journey while sharing her knowledge. Inspired by her culture and roots, she believes art is healing and connects us to ourselves.
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Title: Still here
Artist: Crystal Clark
Exhibition year: 2025
My name is Crystal Lee Clark, an Indigenous artist of Dene, Nehiyaw (Cree), and Métis ancestry, with ancestral ties to the Michel First Nation on my maternal side as well ancestral ties to Fort Chippewan in Treaty 8 territory.
I’m a member of the Metis Nation of Alberta. I am from Fort McMurray and currently live near Rocky Mountain House, Alberta. My work is deeply rooted in storytelling, the natural world, and Indigenous futurities. I use both traditional and digital mediums to explore themes of rematriation, relationality, and ecological interconnection.
My practice blends painting, illustration, digital art, and mixed media to create layered visual narratives that honour land, culture, and spirit. Each piece is grounded in research, reflection, and relationship — to place, history, and the more-than-human world. I often incorporate symbolism from Indigenous plants, animals, and landforms to tell stories of resurgence, kinship, and joy.
Title: Still here
Artist: Crystal Clark
Exhibition year: 2025
My name is Crystal Lee Clark, an Indigenous artist of Dene, Nehiyaw (Cree), and Métis ancestry, with ancestral ties to the Michel First Nation on my maternal side as well ancestral ties to Fort Chippewan in Treaty 8 territory.
I’m a member of the Metis Nation of Alberta. I am from Fort McMurray and currently live near Rocky Mountain House, Alberta. My work is deeply rooted in storytelling, the natural world, and Indigenous futurities. I use both traditional and digital mediums to explore themes of rematriation, relationality, and ecological interconnection.
My practice blends painting, illustration, digital art, and mixed media to create layered visual narratives that honour land, culture, and spirit. Each piece is grounded in research, reflection, and relationship — to place, history, and the more-than-human world. I often incorporate symbolism from Indigenous plants, animals, and landforms to tell stories of resurgence, kinship, and joy.
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Title: Tamaani | Here portable collection
Artist: 12 artists from different regions of Nunavut
Medium: stone sculptures
Teach students about the rich art and culture of the Inuit people of Canada. This collection is available for lending to teachers, schools and educational organizations in Calgary and area. Learn more
Photography by Alana Bluebird-One Spot
Title: Tamaani | Here portable collection
Artist: 12 artists from different regions of Nunavut
Medium: stone sculptures
Teach students about the rich art and culture of the Inuit people of Canada. This collection is available for lending to teachers, schools and educational organizations in Calgary and area. Learn more
Photography by Alana Bluebird-One Spot
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Title: Outdoor Ice
Artist: Candice Ward
Exhibition year: 2021-2022
Six images from the Outdoor Ice series by Indigenous photographer, Candice Ward were exhibited in Calgary’s Open Spaces windows on the Centre Street LRT platform on 7 Avenue between 1 Street S.E. The diversity of the athletes who took part in this series and the gender equality in the set is what makes this set special.
Learn more about the Open Spaces exhibit.
Title: Outdoor Ice
Artist: Candice Ward
Exhibition year: 2021-2022
Six images from the Outdoor Ice series by Indigenous photographer, Candice Ward were exhibited in Calgary’s Open Spaces windows on the Centre Street LRT platform on 7 Avenue between 1 Street S.E. The diversity of the athletes who took part in this series and the gender equality in the set is what makes this set special.
Learn more about the Open Spaces exhibit.
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Title: Past, Present and Future
Artist: Kalum Teke Dan
Year completed: 2021
The pieces, titled Past, Present and Future aim to represent the rich history of the land on which Calgary sits and how all people are working to understand the wrongs of the past and provide a way forward for the future.
Learn more about Kalum Teke Dan
Title: Past, Present and Future
Artist: Kalum Teke Dan
Year completed: 2021
The pieces, titled Past, Present and Future aim to represent the rich history of the land on which Calgary sits and how all people are working to understand the wrongs of the past and provide a way forward for the future.
Learn more about Kalum Teke Dan
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Title: Dagumisistiy Wusa Trok’a Yasdar
Artist(s): AJA Louden, Aj Starlight, Tsuut’ina Nation youth
Year completed: 2019
DAGUMISISTIY WUSA TROK’A YASDAR translates to “Everybody preserve walking together into the future”. This work was part of the 2019 Street Art Program for Youth, where members of the Tsuut’ina Nation Isgaakuwa Gumistiy youth program attended a graffiti and street art workshop.
AJA Louden and Aj Starlight led the workshop and produced the final mural that was installed on Bullhead Hall. The mural draws inspiration from stories from Elders and the youth from the workshop. It honours the rich culture and territory of Tsuut’ina First Nation.
Title: Dagumisistiy Wusa Trok’a Yasdar
Artist(s): AJA Louden, Aj Starlight, Tsuut’ina Nation youth
Year completed: 2019
DAGUMISISTIY WUSA TROK’A YASDAR translates to “Everybody preserve walking together into the future”. This work was part of the 2019 Street Art Program for Youth, where members of the Tsuut’ina Nation Isgaakuwa Gumistiy youth program attended a graffiti and street art workshop.
AJA Louden and Aj Starlight led the workshop and produced the final mural that was installed on Bullhead Hall. The mural draws inspiration from stories from Elders and the youth from the workshop. It honours the rich culture and territory of Tsuut’ina First Nation.
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Title: Mourne
Artist: Jade Nasogaluak Carpenter
Exhibition Year: 2017
Indigenous curator, Jessie Ray Short selected this work titled Mourn by Jade Nasogaluak to be exhibited in Calgary’s Open Spaces windows on the Centre Street LRT platform on 7 Avenue between 1 Street S.E.
Mourn is a two-piece installation that consists of a line of beaded text that reads “you can mourn someone who is still alive” and a painting of a ghost. These two pieces work in conjunction to create a platform for the audience to consider their traumas and offer an affirmation to passersby. Mourn speaks to intergenerational trauma, seeks to communicate loss and acceptance, and considers the performative aspect of lamentation by situating the private into the public.
Learn more about the Open Spaces exhibit.
Title: Mourne
Artist: Jade Nasogaluak Carpenter
Exhibition Year: 2017
Indigenous curator, Jessie Ray Short selected this work titled Mourn by Jade Nasogaluak to be exhibited in Calgary’s Open Spaces windows on the Centre Street LRT platform on 7 Avenue between 1 Street S.E.
Mourn is a two-piece installation that consists of a line of beaded text that reads “you can mourn someone who is still alive” and a painting of a ghost. These two pieces work in conjunction to create a platform for the audience to consider their traumas and offer an affirmation to passersby. Mourn speaks to intergenerational trauma, seeks to communicate loss and acceptance, and considers the performative aspect of lamentation by situating the private into the public.
Learn more about the Open Spaces exhibit.
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Title: Ekosi
Artist: Tamara Lee-Anne Cardinal
Exhibition year: 2017-2018
Indigenous curator Jessie Ray Short selected Ekosi by Tamara Lee-Anne Cardinal to be exhibited in Calgary’s Open Spaces windows on the Centre Street LRT platform on 7 Avenue between 1 Street S.E.
Based on Cree teachings Cardinal has received, the work depicts the four stages of life. Four circular pieces are displayed two-by-two in two separate woven structures that comprise Ekosi. The title is a Cree word that can express "that's it; that's the end; alright; good-bye; amen; it is okay," although Cardinal’s usage tends more towards the literal English translation meaning “enough,” asking viewers to consider “what is enough?” The stages are represented by the four circles made of collaged images on a background of empty tea bags, which are woven into a web-like structure of artificial sinew attached directly to the wall by metal hooks.
Learn more about the Open Spaces exhibit.
Title: Ekosi
Artist: Tamara Lee-Anne Cardinal
Exhibition year: 2017-2018
Indigenous curator Jessie Ray Short selected Ekosi by Tamara Lee-Anne Cardinal to be exhibited in Calgary’s Open Spaces windows on the Centre Street LRT platform on 7 Avenue between 1 Street S.E.
Based on Cree teachings Cardinal has received, the work depicts the four stages of life. Four circular pieces are displayed two-by-two in two separate woven structures that comprise Ekosi. The title is a Cree word that can express "that's it; that's the end; alright; good-bye; amen; it is okay," although Cardinal’s usage tends more towards the literal English translation meaning “enough,” asking viewers to consider “what is enough?” The stages are represented by the four circles made of collaged images on a background of empty tea bags, which are woven into a web-like structure of artificial sinew attached directly to the wall by metal hooks.
Learn more about the Open Spaces exhibit.
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Title: This is My Mother's Vision
Artist(s): Joane Cardinal-Schubert
Year completed: 1987
Title: This is My Mother's Vision
Artist(s): Joane Cardinal-Schubert
Year completed: 1987
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Title: Buffalo Hierophany
Artist(s): Jane Ash Poitras
Year completed: 1992
Title: Buffalo Hierophany
Artist(s): Jane Ash Poitras
Year completed: 1992
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Title: One Warrior Hunting Buffalo
Artist(s): Gerald Tailfeathers
Year completed: 1970
Title: One Warrior Hunting Buffalo
Artist(s): Gerald Tailfeathers
Year completed: 1970