_​Confluence_​is comprised of two abstract mosaic works, one on either side of the Davies Ramp. With the artwork’s organic shape, the artist intends to evoke the visual merging of Edmonton’s sky, water, and land. In a vast gradient of spectral hues, rolling cloud-like shapes drift along the ramp in a path that reflects that of the Mill Creek Ravine.

Erin Pankratz

Born in the Northwest Territories and currently residing in Edmonton, Erin Pankratz grew up in the boreal forest, constantly making something out of nothing. Primarily a mosaicist, Pankratz’s work has an element of time, marking changes, and shifting perspectives. Pankratz started off in ballet but switched to visual art and attended the Alberta College of Art and Design. She began exploring mosaics in 1998.

Reflecting the diversity of the Mill Woods community surrounding the Grey Nuns Hospital, Karen Ho Fatt Lee has created a band of motifs inspired by cultural textiles and patterns. The artwork draws on the language of clothing and traditional arts with the actual imagery derived from a community workshop and online submissions. The final design of _A Pattern Language_​includes 22 traditional folk and tribal motifs with cultural significance to ethnic groups from Asia, Africa, Europe, and the Americas. The aligned motifs resemble a cloth border and are harmoniously arranged across a 53-foot-long aluminum structure. The repetition of various geometric and curvilinear motifs reflects the balance and diversity in the community. The artist hopes this piece will inspire passengers and local communities alike. The airy artwork raised on the canopy will uplift those taking the train and turn an everyday activity into a joyful experience.

Karen Ho Fatt Lee

Karen Ho Fatt Lee is a Canadian visual artist and designer working in two and three dimensional media. She is a graduate of the University of Manitoba. 

Lee has several colourful functional and artistic public art pieces within various jurisdictions in Alberta. Her public art practice refines and transforms common objects and iconography to best reflect a site’s context and unique dynamics. 

She lives in the beautiful foothills of the Rocky Mountains, which provide an endless source of inspiration.

_​Four Seasons in Silver Heights Peony Garden_​takes its inspiration from the local history of the Bonnie Doon Silver Heights Peony Garden. Established in the early 1900s, the Silver Heights Peony Garden was created and operated by prominent Edmonton physician James Frederic Brander and his father George. The garden supported over 200 varieties of peonies, despite the belief that our climate is too cold for such a beautiful delicacy. Each glass shelter represents one of the four seasons and illustrates a transformation of a peony garden throughout the year. With this piece, the artist pays homage to the strength of the human spirit, which despite often difficult circumstances, can rise and grow real beauty. Text is an integral element of the overarching conceptual theme and involved the direct engagement of the local community. Participation in this part of the project engaged students from Rutherford Elementary School to express their thoughts and feelings about the Bonnie Doon area.

Oksana Movchan

Oksana Movchan holds a Ph. D., MFA and BFA (Printmaking) from the National Academy of Fine Arts and Architecture, Kyiv, Ukraine. She has won a number of awards and grants, including Best in Printmaking, awarded by Arts Development Fund, established by former President of Ukraine, L. Krawchuk. She has exhibited nationally and internationally and has work in numerous public and private collections, including the Art by Acquisition program with the Alberta Foundation for the Arts. Public art projects also include two large-scale individual glass installations featured at the Ardrossan Recreation Complex.

_​Fluid Landscape_​is a large-scale, colourful activation of Davies Station in alternating bands of clear and translucent glass. The artwork will span more than 26 windows, with imagery that subtly blends Canadian prairie, forest, lakes, and mountains, suggesting the diverse natural and cultural history in the region. The artwork will evoke a vivid, iconic layering of time, season, and the senses to activate Edmontonians’ daily commute.

Shan Shan Sheng

Shan Shan Sheng is a world-renowned professional visual artist creating large-scale artworks intended to enliven the space and engage audiences with vivid surprising forms. The driving force behind her public art is to create works that are both spiritual in nature and universal in meaning.

Born in Shanghai and based in San Francisco, Sheng came to the United States in 1982, attending Mount Holyoke College with a full scholarship. She attained a Master of Fine Arts Degree at the University of Massachusetts (Amherst), and continued to Harvard University as an artist-in-residence for two years.

Sheng has held over 40 solo exhibitions in Europe, Asia and America. Her large-scale Open Wall project
was included in the 53^rd Venice Biennale. Her works have been collected by 10 museums around the world. Her public art project Ocean Wave at the Port of Miami was recognized for excellence by Americans for the Arts in 2007. To date, Sheng has completed over 50 large-scale permanent public art projects for locations around the world.

_​If The Drumming Stops_​symbolically connects transit users to stories of the Papaschase Cree territory. It is the intention of the artists to give voice to the spirit of the language, land, histories and present realities of Indigenous peoples in what has become the current neighborhood of Mill Woods, but which was and will always be carried in the hearts of Papaschase descendants. Working within their interpretations of the protocol of being a guest in Papaschase territory, Morin and Willard invited Cheryl L’Hirondelle into this collaborative work that asserts the Papaschase Cree people’s belonging and histories within the matrix of the contemporary cultures, peoples and eco-systems of the Mill Woods neighborhood today. With this work, the artists show the complex interrelationship of the past and present, highlighting the historical injustice of the Papaschase Indian Reserve dispossession. The artwork juxtaposes archival images and drawings of the site’s original ecosystem and society with the modern, diverse community, allowing a commuter to look through the eye of the buffalo while standing within the glass transit shelter, for example. Cree syllabics featured on ​‘woodpecker-red’ glass share a traditional ​‘Wake-up Song’ in Cree, and the title of the work relates to historical accounts and current presence of the Papaschase community.

Peter Morin, Tania Willard & Cheryl L’Hirondelle

Tania Willard, Secwepemc Nation and settler heritage, works within the shifting ideas around contemporary and traditional, often working with bodies of knowledge and skills that are conceptually linked to her interest in intersections between Aboriginal and other cultures. Willard’s curatorial work includes the touring exhibition, Beat Nation: Art Hip Hop and Aboriginal Culture (2012−2014), co-curated with Kathleen Ritter. In 2016 Willard received the Award for Curatorial Excellence in Contemporary Art from the Hanatyshyn Foundation as well as a City of Vancouver Book Award for the catalogue for the exhibition Unceded Territories: Lawrence Paul Yuxweluptun. Willard’s ongoing collaborative project BUSH gallery, is a conceptual land-based gallery grounded in Indigenous knowledges. Willard is an Assistant Professor at UBC Okanagan in Syilx territories and her current research intersects with land-based art practices.

Peter Morin is a Tahltan Nation artist, curator, and writer. In his artistic practice and curatorial work, Morin’s practice-based research investigates the impact zones that occur when Indigenous cultural-based practices and western settler colonialism collide. This work is shaped by Tahltan Nation epistemological production and often takes on the form of performance interventions. In addition to his object making and performance-based practice, Morin has curated exhibitions at the Museum of Anthropology, Western Front, Bill Reid Gallery, and Burnaby Art Gallery. In 2014, Peter was long-listed for the Sobey Art Prize. Morin is an Associate Professor in the Faculty of Art at Ontario College of Art and Design University.

Cheryl L’Hirondelle (Cree/​Halfbreed*; German/​Polish) is an interdisciplinary artist, singer/​songwriter and critical thinker whose family roots are from Papaschase First Nation, amiskwaciy wâskahikan (Edmonton, AB) and Kikino Métis Settlement, AB. Her work critically investigates and articulates a dynamism of nêhiyawin (Cree worldview) in contemporary time-place with a practice that incorporates Indigenous language(s), audio, video, virtual reality, the olfactory, sewn objects, music and audience/​user participation to create immersive environments towards ​‘radical inclusion.’ As a songwriter, L’Hirondelle’s focus is on both sharing nêhiyawêwin (Cree language) and Indigenous and contemporary song-forms and personal narrative songwriting as methodologies toward ​‘sonic survivance.’ She has exhibited and performed widely, both nationally and internationally. L’Hirondelle is the recipient of two imagineNATIVE New Media Awards (2005, 2006), and two Canadian Aboriginal Music Awards (2006, 2007). Cheryl is also the CEO of Miyoh Music Inc., an Indigenous niche music publishing company and record label.

*different historical and contemporary terms for being a ​‘mixed-blood’ person are: Métis, Halfbreed, o‑tipeyimisiwak, askiy ohci iyiniwak and apihtawikosisanak

This artwork is inspired by the proximity of the neighbourhood to the Mill Creek ravine, the resulting opportunities for area residents to experience the transition from an urban to a wooded environment, and the pleasant surprise of encountering wildlife while on a river valley stroll. Drawn from ongoing explorations in the artist’s sculptural practice, these whimsical life-size deer merrily slide down the roofs of the transit shelter, evoking fun pastimes in the community, such as the simple joy of sliding downhill.

Paul Freeman

Visual artist Paul Freeman is a founder and the Artistic Director at Edmonton’s Nina Haggerty Centre for the Arts, an art centre for artists with developmental disabilities.

He graduated from the Alberta College of Art & Design in 1998, and received his MFA in Drawing and Intermedia from the University of Alberta in 2005. His most recent solo work, It’s Only Natural, was nominated by the Art Gallery of Alberta for the Eldon and Anne Foote Visual Art Prize, which he received in June 2013. 

Freeman’s interdisciplinary art practice includes sculpture, drawing, photography/​digital image creation, and the creation of short animated films.