Kitao’wahsinnooni: What Sustains Us
There’s a new story unfolding along RiverWalk, Kitao’wahsinnooni: What Sustains Us, is the latest mural series to arrive in East Village — a vivid, heartfelt tribute to the ways Calgarians connect to the Bow and Elbow Rivers. Painted by local artist Alex Kwong, these six large-scale portraits can be found on bridge abutments along Jack & Jean Leslie RiverWalk, turning concrete into canvas and passersby into participants in a shared reflection.
Commissioned through Calgary Municipal Land Corporation’s (CMLC) Art in the Public Realm program, the project is rooted in connection — to land, to water, and to each other. Elder Rod Scout, a Blackfoot ceremonial leader and knowledge keeper, gifted the project its name: Kitao’wahsinnooni — a Blackfoot term that means “what sustains us.” The murals that followed are a reflection of that idea, told through the faces and stories of seven individuals whose lives are deeply connected to the river.
L-R: Donna Boulanger, Alex Kwong, Parisa Radmanesh, Jay Jones, Alanna Bluebird, Rod Scout.
Meet the Artist
Calgary artist Alex Kwong’s striking, representational work blends realism with expressive elements. His art takes shape on a variety of surfaces, from canvas to large-scale murals. Informed by his background in Art History and a deep curiosity fueled by travel, Alex's practice draws inspiration from historical movements and the rich tapestry of global cultures.
At the heart of Alex's process is a commitment to capturing and reflecting the stories of individuals, groups, and places. By fostering meaningful connections with communities, he creates authentic, site-specific works that honour the spirit, fabric, and people of those spaces. It was this community-informed approach that led Alex to be chosen by a volunteer community-based jury to paint this temporary series along RiverWalk.
Alex pictured in front of the maintenance shed on RiverWalk that features notes and drawings from Alex’s notebook from his time working on the project.
Alex’s style is unmistakable — hyperreal portraits softened with a sense of movement, an effect that echoes the river’s own fluidity and softness. The result is a series that feels grounded and flowing all at once — just like the Bow and Elbow Rivers.
After the unveiling of his art installation, we sat down with Alex to talk about the process behind the portraits, the meaning of Kitao’wahsinnooni, and what it’s like to reflect the river through community voices.
What inspired you to create this project?
The idea began three years ago, when I came across the previous RiverWalk artist call. I wasn’t ready yet—personally or artistically—but knew that one day I wanted to tell community stories through portraits along RiverWalk, and that concept stuck with me. It wasn’t until this year’s call came around again that I was in a place where I felt confident enough in who I am and in my artistic skills to honestly reflect other people’s stories through my artwork.
How did the name Kitao’wahsinnooni come to be?
It came from my first meeting with Elder Rod Scout. He shared the word with me and it just clicked — perfectly aligning with the theme I’d already been working toward. He encouraged me to use it, and that was a huge honour. It became a guide for everything that followed.
Elder Rod Scout pictured in Alex Kwong’s mural series.
When I was putting together the design for Rod’s mural, I kept trying to figure out how to capture everything that Rod had shared with me, and really, the history of the Blackfoot people. It was really difficult to think about putting so much into one mural. I went towards capturing this idea of the vastness and the history of the land and people. It’s very expansive – the history, and him as an individual – so I put him in this strong position looking over the land.
One thing he shared with me was the importance of balance – and so you see the sky change from night to day to reflect that, the stars at night to represent wayfinding, the sunrise over the confluence of the Bow and Elbow rivers, and then where the sunrise shines through you see the title of the project. This boldness and expansiveness of the sun, the power Rod has to command this attention and the power of all of it together is really what this project represents.
How did you select subjects for the murals?
I reached out through community networks, social media, and personal contacts. The first step was a call for applications through the East Village social channels and other connections were made organically. The most important thing was meeting with people and talking to them, and getting a feeling that the story was right for this project and this place. I wanted a wide range of experiences — people whose stories reflected many different relationships with the river. Together, I hoped their portraits would offer a full picture of our shared connection to place.
What did your engagement with participants look like?
Alex Kwong pictured with Jay Jones in front of the mural depicting Jay and his dog Maple.
Each person was different. Jay took me on a float down the river, Parisa shared personal rituals and photos, Dee told me about her grandfather, and Rod offered hours of stories, teachings, and his worldview as an Elder. Alanna and I had deep conversations about creativity, culture, and connection — every time we talked, we went somewhere meaningful. With Kevin, we spoke about community resilience and the metaphor of blooming at your own pace. It was never just about gathering facts—it was about building trust and relationships. The goal was to create art that feels like the people it’s portraying.
Alanna and her grandmother gift Alex a beadwork necklace reminiscent of the Flower of Life pattern found throughout the portrait series.
What does this work mean to you now that it’s done?
This work deepened my relationship with nature and the Bow River profoundly. I realized I was painting a portrait of the river—through people’s stories, not just their images. That shift shaped everything. It made me more grounded, more open, more in awe.
Why is public art like this important—especially in East Village?
Public art changes how we feel in a space. It makes cold concrete feel human. And in a place like East Village, where so many different people pass through, it’s the perfect place to reflect those stories back to the community. Everyone here matters, and I hope this project helps people see that.
The Subjects & Their Stories
Elder Rod Scout
A respected Elder and ceremonial leader from Siksika Nation, Rod’s mural captures his grounded presence — a figure standing between earth and sky, with stars above and land below. “Kitao’wahsinnooni,” he told Alex, “means belonging. It means this is where we sustain ourselves, where we eat.” That one word would go on to shape the entire project.
Rod first met Alex over a meal that turned into hours of storytelling — about language, land, water, and the way all of them are connected. “Never in my life did I ever dream of having my big face on a wall,” he laughed. “But this is where we’ve always been. And now people can see that.”
Raised by his grandparents, Rod grew up surrounded by ceremony, culture, and fluent Blackfoot speakers. “My grandmother was hidden from the missionaries. She never spoke English. Blackfoot was my first language.” His teachings run deep — through him, this mural carries not only a personal story, but an invitation to recognize the resilience and presence of Indigenous people in this place.
“You see that face? That’s a Native. We’re the epitome of resilience,” he says. “People tried to push us down. But we’re still here. And now, when people go by, they’ll see that.”
Alanna Bluebird
A multidisciplinary artist of Tsuut’ina (Dene) and Siksika (Blackfoot) heritage, Alanna describes her relationship with the river as something deeply ancestral. “Our people have been here for thousands of years,” she says. “We came to sit by the water and create, to take in the history of this place. My ancestors were here before me — I feel that connection every time I come back.”
Alanna Bluebird pictured in front of her mural depicting her quilling beside the river.
In her mural, Alanna is shown quilling by the river — an image drawn from her real-life practice and her creative energy. “The way I create flows through me, like the river,” she says. “It moves from my mind to my hands to the world. It’s all connected.”
For Alanna, being represented in public art has been a journey of both visibility and self-acceptance. “I grew up with a lot of insecurities but seeing myself like this made me love myself more. It helped me be gentle with myself.” Her presence in the mural — denim jacket, glasses, art in hand — is a reminder that Indigenous identity is not confined to the past. “We’re still here. We’re modern. We’re thriving.”
Alanna Bluebird and her father Rod Scout in front of the mural depicting Rod on RiverWalk.
Alanna hopes the piece sends a message, especially to the vulnerable community members nearby. “I hope they can see this and remember who they are as Indigenous people and find their way back.”
Alanna Bluebird depicted in Alex Kwong’s mural along Jack & Jean Leslie RiverWalk.
Jay Jones pictured in front of his mural on RiverWalk.
Jay Jones
Known to many as the Humble Fisherman, Jay is a born-and-raised Calgarian who has spent a lifetime learning from — and living with — the Bow River. “I've lived close to the Bow my whole life,” he says. “I spent 10 years as a guide taking people from all over the world to fish it.”
His mural captures that relationship with honesty and heart. It shows Jay with his dog Maple, a 17-year-old companion and fellow river traveler. “She's been my best friend and my guide. She's protected me from bears, kept me on the path, given me a reason to go fishing every day. And now she’s been immortalized — that really touches me.”
Fly fishing, for Jay, is more than a sport — it’s a form of connection. “Fly fishing has made me who I am,” he says. “It’s taught me patience, perseverance, acceptance, and change. The river is always changing. The flow is always coming towards us.”
He hopes his portrait invites people to see the river with fresh eyes: not just as a backdrop, but as something alive and present. “Even when I’m at home, I know a piece of me is here on the river.”
The river is a teacher. It’s taught me patience, perseverance, acceptance, and change.
Parisa Radmanesh
An arts educator and literacy advocate, Parisa has always seen the Bow River as something more than scenery — it’s a companion, a comfort, and sometimes, a therapist. “I have a very personal, spiritual and emotional connection to the rivers,” she says. “They’ve been a big part of my life in a healing sense, like my friends.”
In the mural, she’s pictured with her feet in the water — a quiet, grounded moment that speaks to the healing rituals she’s shared with the river over the years. “I’ve done rituals around grief or celebration, like releasing emotion,” she explains. “Water can hold so much. The river is a really beautiful place to process and release.”
When she saw Alex’s initial rendering of the portrait, she felt seen. “So much of what we had talked about came through. It’s kind of vulnerable, but it also feels really amazing to have it here.”
She hopes her portrait encourages people to pause. “The river runs the length of this city and is really accessible. It’s always there for us. I hope people feel inspired to slow down… maybe even put their own feet in the river.”
“The river is like my friend. It’s always there — constant, comforting, and healing.”
Parisa Radmanesh pictured in front of the mural depicting her feet in the river.
Henri and Donna Boulanger with Dee
The mural of Henri and Donna Boulanger with Dee is a story told across generations — a tribute to love, legacy, and the gentle passing of wisdom. Dee nominated her late grandfather Henri, a celebrated bush pilot and aircraft engineer who passed away in 2024. He was recently inducted into the Canadian Aviation Hall of Fame for his lifetime of contributions to northern aviation.
Alex Kwong’s mural depicting Henri and his wife of nearly 55 years, Donna, looking down from above—watching over a younger Dee, pictured as a child looking up with admiration and wonder. An image of Henri’s plane appears alongside them, honouring his legacy in aviation.
Donna first saw the mural when her granddaughter Dee flew her out to Calgary to surprise her with it. “We were walking along the Bow,” she recalls, “and I stopped under the bridge. I saw the mural of my granddaughter Dee, then I saw my husband and myself above. It was a very emotional moment to capture that part of our life.”
The mural depicts a young Dee looking up at her grandparents, with imagery drawn from their shared stories and deep family connection. “It reflects everything they passed down to me,” Dee says, “their stories, their example, and how they taught me to notice the beauty in everything.”
For Donna, the piece carries a deeper message. “I hope people see the connection between generations,” she says. “That one generation passes down their truths and their values — and that there’s a story here.”
For Dee, the mural is more than memory — it’s presence, legacy, and love. “It feels like my heart is on the wall,” she says. “It feels like my inner world is right there. And it also feels like a full-circle moment — the people who shaped me are now part of something that will shape others. It’s a beautiful completion of something.
Residents of the Calgary Drop-In Centre
The final mural in the series honours the strength, stories, and slow, steady personal growth of people within Calgary’s unhoused community. Inspired by staff and residents at the Calgary Drop-In Centre, the concept of the mural came to be through a conversation with Kevin Webb, Director of Emergency Shelter & Housing, who shared a philosophy they use — their clients are like seedlings, each in different stages and places of growth.
After hearing about the metaphor from Kevin, Alex participated in an Indigenous sweat where he was asked to reflect on what he was looking for. After asking about guidance on how to make the project the most impactful as a full series, he stepped out from the sweat the first thing he saw was the prairie crocus. “They were all at different stages of bloom and as soon as I saw it – I knew it was the perfect image for the mural,” says Alex.
Alex Kwong’s mural representing The Residents of the Calgary Drop-In Centre as the prairie crocus in different stages of bloom. The mural faces the Calgary Drop-in Centre on one of the bridge abutments on RiverWalk.
“Too often, individuals experiencing homelessness are solely defined by their housing status,” Kevin says. “But homelessness is a chapter in a person's life — not their identity.” The mural speaks to that idea: that everyone is growing at their own pace, even if you can’t always see it.
Kevin’s perspective is rooted in both his work and his own relationship with the river. “I often go to the Bow to find peace and reflect,” he says. “But after speaking with Alex, I started noticing more than just the water — the full landscape. It reminded me to see the whole picture, in nature and in people.”
He hopes the piece encourages compassion and reflection. “Supporting those without housing isn’t just the role of the Drop-In Centre — it’s a responsibility we all share. I hope people see that these are Calgarians too. And I hope they see their own personal growth reflected in this art.”
Whether you pass by on your morning commute, your afternoon dog walk, or your next riverfront stroll — take a moment to look up. These murals are more than just portraits. They’re windows into what connects us, and reflections of what sustains us.
Kitao’wahsinnooni is waiting for you on RiverWalk.
Since 2010, the Art in the Public Realm program has brought both temporary and permanent installations to East Village — designed to surprise, delight, and invite people to connect with place. Kitao’wahsinnooni follows the temporary mural Touch Traces by Cassie Suche, installed in 2022.