I was struck by John’s research on the health and wellbeing of our mountain water, especially in regard to the impacts of mining and forest fires on our water systems. In our nêhiyaw worldview, we see the mountains as our close relatives that carry our stories and strength. The mountains have been an important part of our spirituality and ceremonies. This acrylic painting was my initial unedited response of sadness and anger of the violent correlation between the severity of our mountain water and women’s bodies. Our iskwêwak (women) are the keeper of our sacred water, within their bodies and for all water systems on these lands of our past and future ancestors. This painting reflects how extractive industries creates a ripple effect of detrimental changes on the biodiversity and biome of the waters within the land and women’s bodies that will have severe consequences on future generations.

“There are six seasons and 13 moons (months) in nêhiyaw itâpisiniwin (Cree worldview).  Each season is connected to the state of the waters, from freezing to flowing, and how it brings life to all living beings. In my original acrylic painting, I painted the unhealthy state of our mountain waters and how it is reflected through the bodies of our iskwêwak (women). For this exhibit, I wanted to evolve that grief into prayers for the health and wellbeing of the sacred waters that include the birth of our future generations.” – Lana Whiskeyjack

“When I look at the painting, I see the long-intertwined history of the river, the people, the animals, and the mountain, valley, forests, and sky. But also, a present where the tie between people and the river is threatened by fires in the mountain, and drought in the valley, symptomatic of climate change. It seems that there is a link between the elders of the past, the buffalo and the horse and perhaps a shield for the people (women) of the present who use the river and are tied to the river. The colours portray hope despite the threat in the mountains.” – John Pomeroy