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Title: The Creators Titans
Artist: Tania Big Plume
Exhibition year: 2025
Title: The Creators Titans
Artist: Tania Big Plume
Exhibition year: 2025
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Title: Constellations
Artist: Alicia King
Exhibition year: 2025
Alicia King is a versatile Indigenous artist from the Blood Tribe (Kainai Nation). Her passion for color, line, and abstraction intertwines in her work, allowing her to express herself in a deeply personal manner. Alicia aims to tell stories and share meaningful messages through her art, with each piece carrying unique significance based on her intent.
A recurring theme in Alicia's work is emotion — whether it conveys love, pain, or appreciation for often-overlooked aspects of life, such as nature, land, and animals. She aspires to slow down the fast-paced world around us, encouraging viewers to notice the beauty in quiet, subtle moments.
Alicia also emphasizes the importance of Truth and Reconciliation, integrating her culture into her art to bring visibility, awareness, and healing to Indigenous stories and experiences that have long been ignored.
Her goal is to connect with people through her art, regardless of their background, as she believes art is for everyone, of all ages. Currently, Alicia is a student at the Alberta University of the Arts, pursuing a career in graphic design and illustration. Art remains her passion and her voice, and she hopes each piece she creates contributes to change, connection, and community healing.
Title: Constellations
Artist: Alicia King
Exhibition year: 2025
Alicia King is a versatile Indigenous artist from the Blood Tribe (Kainai Nation). Her passion for color, line, and abstraction intertwines in her work, allowing her to express herself in a deeply personal manner. Alicia aims to tell stories and share meaningful messages through her art, with each piece carrying unique significance based on her intent.
A recurring theme in Alicia's work is emotion — whether it conveys love, pain, or appreciation for often-overlooked aspects of life, such as nature, land, and animals. She aspires to slow down the fast-paced world around us, encouraging viewers to notice the beauty in quiet, subtle moments.
Alicia also emphasizes the importance of Truth and Reconciliation, integrating her culture into her art to bring visibility, awareness, and healing to Indigenous stories and experiences that have long been ignored.
Her goal is to connect with people through her art, regardless of their background, as she believes art is for everyone, of all ages. Currently, Alicia is a student at the Alberta University of the Arts, pursuing a career in graphic design and illustration. Art remains her passion and her voice, and she hopes each piece she creates contributes to change, connection, and community healing.
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Title: Indigenough
Artist: Autumn Whiteway
Exhibition year: 2025
In this piece, Autumn Whiteway pays homage to her Afro-Indigenous heritage, showcasing the intersection of her Cree and Ethiopian identities. The artwork features a hand drum and jebena (coffee pot), symbolizing the beautiful meeting of these two cultures.
Model: Ali Tapaquon
Location: Lougheed House
Title: Indigenough
Artist: Autumn Whiteway
Exhibition year: 2025
In this piece, Autumn Whiteway pays homage to her Afro-Indigenous heritage, showcasing the intersection of her Cree and Ethiopian identities. The artwork features a hand drum and jebena (coffee pot), symbolizing the beautiful meeting of these two cultures.
Model: Ali Tapaquon
Location: Lougheed House
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Title: Healing
Artist: Ashley Crowchief
Exhibition year: 2025
Ashley is a Blackfoot woman whose life has been profoundly shaped by art, providing her with the opportunity to connect with remarkable artists. After years of working on various projects in film and events, she decided to embark on her own creative journey. Starting with the raffle of paintings she created in high school, Ashley has spent the last four years exploring different designs and crafting mediums.
Her aspiration is to grow her business to create more personal projects at home while also supporting others in achieving their artistic goals. For Ashley, art is a safe and comforting space for expressing her identity and culture.
Her piece, "Healing," reflects Indigenous culture, representing the different elements that contribute to a whole being—each aspect significant to her journey. Ashley envisions Aboriginal artists displaying their work across Calgary, providing a voice and platform for those hesitant to express themselves, while inspiring the next generation.
Title: Healing
Artist: Ashley Crowchief
Exhibition year: 2025
Ashley is a Blackfoot woman whose life has been profoundly shaped by art, providing her with the opportunity to connect with remarkable artists. After years of working on various projects in film and events, she decided to embark on her own creative journey. Starting with the raffle of paintings she created in high school, Ashley has spent the last four years exploring different designs and crafting mediums.
Her aspiration is to grow her business to create more personal projects at home while also supporting others in achieving their artistic goals. For Ashley, art is a safe and comforting space for expressing her identity and culture.
Her piece, "Healing," reflects Indigenous culture, representing the different elements that contribute to a whole being—each aspect significant to her journey. Ashley envisions Aboriginal artists displaying their work across Calgary, providing a voice and platform for those hesitant to express themselves, while inspiring the next generation.
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Title: Mohkinsstsis
Artist: Joey Big Snake
Exhibition year: 2025
Joey Big Snake made this work to represent the two homes that Calgary is for themselves. The one that Joey made it when they moved up from Siksika, and the one that already exists here when they look at the skyline. This is a view from their mind of the area around Kensington looking towards downtown, where they spent most of their time living in the area and is one of the areas of Calgary that feel important to them.
Title: Mohkinsstsis
Artist: Joey Big Snake
Exhibition year: 2025
Joey Big Snake made this work to represent the two homes that Calgary is for themselves. The one that Joey made it when they moved up from Siksika, and the one that already exists here when they look at the skyline. This is a view from their mind of the area around Kensington looking towards downtown, where they spent most of their time living in the area and is one of the areas of Calgary that feel important to them.
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Title: As Long As The River Flow
Artist: Kristy North Peigan
Exhibition year: 2025
This beautiful acrylic painting features a vaporwave style tipi surrounded by a dreamy synthwave style landscape. Inspired by the Treaty promises made that were meant to endure as long as “the sun shines, the grass grows, and rivers flow,” this painting is the perfect reminder of the lasting impact of those promises.
Title: As Long As The River Flow
Artist: Kristy North Peigan
Exhibition year: 2025
This beautiful acrylic painting features a vaporwave style tipi surrounded by a dreamy synthwave style landscape. Inspired by the Treaty promises made that were meant to endure as long as “the sun shines, the grass grows, and rivers flow,” this painting is the perfect reminder of the lasting impact of those promises.
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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
This work is a tribute to the enduring strength and beauty of Indigenous culture, woven through the symbolism of the shawl and its flowing fringes — alive with movement, energy, and power. Beneath the dancer’s feet lies an HBC blanket, an intentional foundation that speaks to the complex history between Indigenous peoples and British and French fur traders. This blanket carries many truths: the birth of the Métis people, the devastation of disease and psychological warfare, and its role as both a commodity of trade and a measure of perceived wealth. Yet, blankets have always held deeper meaning within Indigenous communities—a cherished gift, a source of warmth and security, a testament to hard work, respect, and the sacred connection to the land and animals. Though history has sought to silence Indigenous ways, this piece stands as a declaration: We are still here. Our culture is alive, resilient, and profoundly beautiful.
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
This work is a tribute to the enduring strength and beauty of Indigenous culture, woven through the symbolism of the shawl and its flowing fringes — alive with movement, energy, and power. Beneath the dancer’s feet lies an HBC blanket, an intentional foundation that speaks to the complex history between Indigenous peoples and British and French fur traders. This blanket carries many truths: the birth of the Métis people, the devastation of disease and psychological warfare, and its role as both a commodity of trade and a measure of perceived wealth. Yet, blankets have always held deeper meaning within Indigenous communities—a cherished gift, a source of warmth and security, a testament to hard work, respect, and the sacred connection to the land and animals. Though history has sought to silence Indigenous ways, this piece stands as a declaration: We are still here. Our culture is alive, resilient, and profoundly beautiful.
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
