Sipikiskisiw (Remembers Far Back) features images, documenting Indigenous relation to the Land in Amiskwaciwâskahikan, of an Indian Affairs Papaschase reserve survey map from 1899 and a photograph taken before 1907 of Indigenous men and tipis on the grounds of Fort Edmonton. Using embroidery thread, caribou tufting, porcupine quills, and beadwork; the images are ripped and stitched back together again. According to Sound the rips ​“show the colonial violence that Indigenous people have experienced, including residential school intergenerational trauma, loss of language, and displacement from our territories.” The mending of the images doesn’t fully obscure the rips shares Sound, ​“as the loss, grief, longing, and memory cannot be fully mended and the resiliency required to survive colonialism is also messy and fragile. These losses can never be fully healed but we can process our histories and realities through art, culture and stories.” Papaschase First Nation signed an adhesion to Treaty 6 in 1877. Under treaty they received reserve land in what is now southeast Edmonton. By 1886, they were removed from the land for settler expansion and it was illegally surrendered. Members were forced to take Métis scrip (signing away their treaty rights for a cash payment) or move to nearby reserves. Sound’s great great kokum, Rosalie/​LaRose Gladu, was a member of Papaschase who took Métis scrip and later settled in the Slave Lake area in Treaty 8. For Sound, her family’s forced displacement and connection to these lands is not just a scrip number in the archives.

Michelle Sound

Michelle Sound is a Cree and Métis artist, educator and mother. She is a member of Wapsewsipi Swan River First Nation in Treaty 8 Territory, Northern Alberta and she was born and raised on the unceded and ancestral home territories of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish) and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) Nations. She is a multidisciplinary visual artist and her art practice includes a variety of mediums including photo based work, textiles, painting and Indigenous material practices. Her artwork often explores her Cree and Métis identity from a personal experience rooted in family, place and history.

She holds a Bachelor of Fine Arts from Simon Fraser University, School for the Contemporary Arts, and a Master of Applied Arts from Emily Carr University Art + Design. Michelle is currently an Indigenous Advisor at Douglas College and has taught workshops as a guest artist at the Richmond Art Gallery and the Contemporary Art Gallery. Public art pieces include a utility box art wrap (City of Vancouver), street banners (City of New Westminster) and a painted mural exhibition in Ottawa, 2018 — ​“nākateyimisowin/​Taking Care of Oneself”, curated by Joi Arcand. Michelle was a 2021 Salt Spring National Art Award Finalist and has had recent exhibitions at Neutral Ground ARC (Regina), Daphne Art Centre (Montréal), the Polygon Gallery and the grunt gallery (Vancouver). Michelle recently completed an artist residency at the Burrard Arts Foundation culminating in the exhibition ​“Aunties Holding It Together”.

_​AmiskwacÎw Wâskâyhkan Ihtâwin_​(Beaver Hills House Park) invites the public to wander through Michael Phair Park and into Beaver Hills House Park led by a community of Bohemian wax-wing birds. More than 150 bird silhouettes make this artwork a three-dimensional experience as the movement takes people into the park. Flight studies were interpreted as ten different shapes of the wax-wing come to life from takeoff to mid-flight and beyond. This procession is further accentuated by the mural, the edge of the boreal forest — the context of Edmonton and the landscape that is true to this place. Both Cree syllabics and translations are utilized as the main hierarchy to express the Indigenous roots of this special place; a place to gather and share stories about the past, present, and future.

Destiny Swiderski

Destiny Swiderski (b. 1981, Winnipeg, Manitoba) is a Métis Canadian artist who currently lives and works in Coombs, British Columbia. She is known for site-specific installation art that utilizes everyday materials that follow a precise algorithm.

Destiny Swiderski grew up north of Winnipeg in Selkirk, Manitoba. Her studies began at the University of Manitoba in Winnipeg in 2002. Swiderski received her Bachelors of Environmental Design in Architecture in 2007. Her studies in Architecture led her to create architectural installations at the Ontario College of Art and Design in Toronto, ON. She has worked for Architecture and Urban Design firms in the west and is currently self-employed as she is embracing her career as a Public Artist.

Swiderski’s work uses everyday manufactured materials such as drinking straws, casino dice, and pieces of milled wood to create large scale sculptures that have a three dimensional quality. Her work involves using repetition of one material to explore its new characteristics when applied to an image. Her process is extracted from the landscape to the deep-rooted history that resides in that particular place. Capturing experience is the essence of all of her artworks.

Destiny’s experience working in Architecture has allowed her to be exposed to numerous clients, cultures, and places around Canada. Her extensive knowledge of materials and construction methods allow her to manage, consult, and construct large pieces of art for others to enjoy and interact with. These ideas all stream into how public art can be a vehicle for placemaking.

This artwork honours peace — a universal concept that speaks to friendship, harmony, and freedom from violence. The depictions etched on the five aluminum-steel, laser-cut and patinaed panels reflect the idea of peace, as represented through animal metaphors relating to the military and the natural world around us. The human symbolizes and honours the fallen military members who rest in this place, while the moon speaks to our emotional being, which connects us to the chaos and the calm within. Together, the five panels create _PEACE_, a northern landscape that reflects the natural world, the animals that both protect and create wonder in us, the energetic night skies, and a connection to the spirits of our loved ones. Though Stimson’s interpretation of _PEACE_ holds great meaning for him, he’s hopeful that others will find their own connections to it: ​“I’m always a believer in creating work and know there are a number of things that the process does for me, be it healing or whatnot. But I also hope that the viewer will go to it on their own, without knowing anything about it, and something within it will trigger something within them — something they needed — a sense of peace, but also wonder — that space of contemplation, and memory, and time.

Adrian Stimson

Adrian Stimson is a member of the Siksika (Blackfoot) Nation, Treaty 7 territory, Alberta, Canada.

Adrian has had numerous experiences in his life including youth programs Katimavik and Canada World Youth. He has completed his basic military training as an Able Seaman with the Canadian Armed Forces. He has travelled extensively, embraces cultural diversity, and is an advocate for social and environmental justice. He was elected to political office on his First Nation Siksika (Blackfoot) Nation, Treaty 7 territory, and was on Chief and Council from 1990 to 1999.

Adrian has attended and received degrees, diplomas, and certificates from the University of Guelph, the Banff Centre for the Arts, a BFA with distinction from the Alberta University of the Arts and a MFA from the University of Saskatchewan. Adrian was awarded the Alumni of Influence Award by the University of Saskatchewan in 2020, the Governor General Award for Visual and Media Arts in 2018. REVEAL Indigenous Arts Award –Hnatyshyn Foundation 2017. He was awarded the Blackfoot Visual Arts Award in 2009, the Alberta Centennial Medal in 2005 and the Queen Elizabeth II Golden Jubilee Medal in 2003.

The painting pays respect to the land area where Edmonton is located, highlighting the colours of beautiful sky, the stories of the area, and clear waters from far away mountains. The white areas depict the coverage of the winter snowfalls and also the many days of clear skies. Eventually by spring all the snow will melt away. Then comes spring weather, delightful flowers, and farming begins on new life surrounding the city. When the beautiful blue skies become covered with rainy clouds they bring a refreshing blessing to the earth life of plants, and other living things flying or living on the ground. Stunning river valley scenery adds more beauty to the area. All roads lead to the area, Edmonton, as it is a central destiny for all who came before, and who came after. — _​Alex Janvıer, February 25, 2015_.

Alex Janvier

Alex Janvier was born in 1935 and is of Dene sųłı̨né́ and Saulteaux descent. At the age eight, he was sent to the Blue Quills Indian Residential School near St. Paul, Alberta. Janvier speaks of having a creative instinct from as far back as he can remember, and says he was given the tools to create his first paintings at the residential school. Unlike many Aboriginal artists of his time, he received formal training and graduated with honours from Calgary’s Alberta College of Art in 1960. Immediately after graduation, he took up a post at the University of Alberta. 

Janvier’s style is highly distinctive and involves an eloquent blend of abstract and representational images with bright, often symbolic colours. As a First Nations person emerging from a history of oppression and struggle for cultural empowerment, he paints the challenges and celebrations that he has encountered in his lifetime. Janvier credits the beadwork and birch bark basketry of his mother and other relatives as major influences.

His work has been exhibited internationally – most notably as a representative in a Canadian/​Chinese Cultural Exchange in 1985. In January 2004, one of Janvier’s works was displayed in Paris, France at the Canadian Forum on Cultural Enterprise. Nationally, Janvier has created several acclaimed murals; the 450 m² Morning Star at the Canadian Museum of Civilization, is a personal career highlight. 

Janvier is one of Canada’s most significant, pioneering Aboriginal artists. As a founding member of the Professional Native Indian Artists Incorporated (PNIAI) – the so-called ​“Indian Group of Seven” he was key in challenging perceptions of Aboriginal art. His influence continues to be felt by First Nations today. Accolades include three prestigious Lifetime Achievement Awards from the National Aboriginal Achievement Foundation, The Tribal Chiefs Institute, and Cold Lake First Nations, in addition to the Order of Canada and Alberta Order of Excellence. Janvier’s passion and natural talent for creative expression remain strong to this day.

_​Preparing to Cross the Sacred River_​references and acknowledges the natural formation of the North Saskatchewan River Valley banks, wildlife, and shared stories and traditions of Indigenous peoples. The stone slabs form a wall or ​“lookout” etched with images of ​“this place.” The artwork, which features sandblasted patterning reminiscent of beading styles, symbolizes the need to reconnect with ancient and sacred Indigenous beliefs to uphold our relationship to the land and protect the planet. Such activities must be built upon the foundation of ancient stories that tell how humans came to be in this place and how they must act within it. ​“Click here”:https://www.youtube.com/watch?v=iXQ1E35c2nk to see a video about Marianne Nicolson and _​Preparing to Cross the Sacred River_​(Video: Conor McNally, Music: Matthew Cardinal) ​“Click here”:http://yegarts.tumblr.com/post/177280230828/introducing-the-%E1%90%84%E1%93%83%E1%90%A4-%C3%AEn%C3%AEw-river-lot-11-artists for the YEGArts Blog interview with Marianne Nicolson

Marianne Nicolson

Marianne Nicolson (‘Tayagila’ogwa) is an artist of Scottish and Dzawada̱ ​’enux̱w First Nations descent. The Dzwada̱ ​’enux̱w People are a member tribe of the Kwakwa̱ka̱ ​’wakw Nations of the Pacific Northwest Coast. 

Her training encompasses both traditional Kwakwa̱ka̱ ​’wakw forms and culture and Western European based art practice. She has completed a Bachelor of Fine Arts from Emily Carr University of Art and Design (1996), a Masters in Fine Arts (1999), a Masters in Linguistics and Anthropology (2005) and a PhD in Linguistics, Anthropology in 2013 at the University of Victoria. She has exhibited her artwork locally, nationally and internationally as a painter, photographer and installation artist, has written and published a number of essays and articles, and has participated in multiple speaking engagements. 

Most recent public art projects include a 35’ glass wall for the new Canadian Embassy in Amman, Jordan in 2013 and a 35’ glass sculpture for The Vancouver International Airport (YVR) in 2015. All of her practice engages with issues of Aboriginal histories and politics arising from a passionate involvement in cultural revitalization and sustainability.

The Tawatinâ bridge shared-use pathway features over 500 paintings of the River Valley’s flora and fauna, and the First Nations, Métis, and settler histories of the area. Bridging the city, the art works show the intertwined lives of the people and the non-human beings who live and travel through here. The artist’s meetings with First Nations Elders and Knowledge Keepers, and Métis citizens, and numerous visits to the Valley since childhood, are the backbone of these paintings. David Garneau, along with a team of First Nations, Métis, Black, Asian, and artists of European ancestry, captured Edmonton’s four seasons and complex histories. The huge expanse and collage-like format allowed the artist to combine a variety of images that would not suit a conventional mural. Garneau explains that each picture is a prompt to story-telling: ​“There are well-known histories, lesser-known family tales, sacred stories, hidden messages, and provocative combinations. The images are for everyone but the stories belong to those who know, keep, and share them. I have heard the stories but will not write them down. They are not mine to share. I hope their keepers will visit here, share their stories, and make these paintings live.” 

David Garneau

David Garneau is a Professor in Painting and Drawing at the University of Regina. He holds an MA in American Literature and BFA in Painting and Drawing with Distinction from the University of Calgary and has exhibited widely throughout Canada as well as internationally. He was awarded the Governor General’s Award in Visual and Media Arts: Outstanding Contribution (2023). He is a greatly sought after speaker at conferences and symposia. This commission represents a homecoming for him, and is his first public artwork in Edmonton.

“My interest in this project is personal and professional. I was born and raised in Edmonton and spent my youth exploring the River Valley. My great, great grandparents were Laurent and Eleanor Garneau (Métis) after whom the nearby Garneau district was named. That the Tawatinâ Bridge is so near to their river lot inspires me to return to this site with a proposal that honors our connection to this place, embodies some of the uses and teachings attached to this site, and engages the Indigenous community to co-create a work of art that is at once accessible and sublime.”

City as an Advocate is a mixed media painting. The overall theme of advocacy illustrates steps the City can take to live out the Framework. 

Several symbols such as horses and hoof prints symbolize concerns and barriers brought forward by Indigenous community members like financial support and sustainable funding. The movement of horses, for example, represents how the City must collaborate with Indigenous communities in Edmonton to ensure actions reflect diverse voices and perspectives. 

Other symbols like the circles represent the need for continuous education and training and self-reflection of personal beliefs, attitudes, and assumptions leading to action against racism towards Indigenous Peoples. The intent of the artwork is for City staff to put these teachings into practice in the workplace.

For a detailed guide to the artwork, please visit the guide on the City’s Indigenous Framework webpage. 

Dawn Marie Marchand

Dawn Marie Marchand is a member of Cold Lake First Nation in Treaty Six territory. cîpêhcakwawêw-iskwêw (Blue Horse Spirit Woman) is a Cree and Métis artist, educator, advocate, author, writer, speaker, and mother. Her many noted accomplishments include Circle of Courage Coordinator for the Alberta Indigenous Games in 2011, Co-founder and lead organizer of Cree8 Success Conference in 2012, art installations for the Edmonton Folk Festival in 2013 called ​“Monto”; Edmonton City Hall in 2014 during the Truth and Reconciliation Gathering ​“A Place to Hang your Stories”; co-producing the Walrus Talks-Aboriginal City art components in 2015, ​“Edmonton Treaty 6 Soccer ball”; and Redx Talk ​“Art is the Medicine” in 2016; and an installation called ​“The Longest Journey” as part of the Nuit Blanche Festival in 2018. She received an Aboriginal Role Model Award for Art in 2017, during her term as the First Indigenous Artist In Residence for the City of Edmonton, facilitated the Indigenous Artist Market Collective engagement and launch in 2018. In mid 2019, she relocated to Smoky Lake, AB. Since then she has had work installed in Concordia College, Indigenous Knowledge and Research Centre, Stanley Milner EPL, PÎYÊSÎW WÂSKÂHIKAN. She has had her work projected as part of Dreamspeakers Light Strikes in numerous locations including Dubai and has recently had work projected as part of the Land Acknowledgment during the Junos celebrations in 2023. She was the artist consultant for Punctuate! Theatre’s ​“First Métis Man of Odessa” which is currently touring nationwide. She continues to advocate for removing systemic barriers for Indigenous artists across Canada.