Jun 10, 2011 | Class Act, Tlingit Culture Accentuated |
Strips of sap-free cedar bark in the foreground - students braving an adventure of spinning Chilkat warp!
Sunday night, a few hours after the tail end of the 1st Annual Yakutat Tern Festival, 18 women began to learn the art of spinning Chilkat warp of yellow cedar bark and merino wool. Traditionally, we use mountain goat wool, however, mountain goat wool is a rare find these days and merino wool is the closest fiber to match that of the mountain goat. The class began at 6pm and was only supposed to be 2 hours, but we didn’t get out of the classroom until 11:30pm that night when Evelyn finally broke the spell and said: “Gee, I’ve got to go home now…” Suddenly, all of us realized it was way past our bedtime! That’s what happens when we’re having too much fun!
A class of 18 students making their first attempts at spinning Chilkat warp - L to R: Carol Pate, MaryAnn Porter, Angel Harry, Evelyn Dierick, Carolyn Donohue, Eva Sensmeier, Victoria Demmert, Lois Dworshak, Yvonne Baker, ,Anne Pollnow, Shirley Cain, Joy Klushkan, (Maka Monture & Alison Bremner obscured), Judy Ramos, Penney James, and Gloria Benson
Some of the students are weavers of Ravenstail learned from Cheryl Samuels who revived the art of Ravenstail weaving back in the late 80’s. Ravenstail warp is not spun with cedar bark; Chilkat warp is. Someday, these students want to learn the art of Chilkat weaving, and with the eagerness of learning how to spin their own warp, I can tell these women will be persistent about learning Chilkat weaving.
Thin strips of yellow cedar bark ready to spin with the wool - silky when wet, rough when dry
L to R: Joy Klushkan, Maka Monture, Alison Bremner, Judy Ramos
The youngest student in the class, Angel Harry, organizes her strips of cedar bark and her wool roving to prepare for the next step - the actual spinning on her thigh!
Many thanks to MaryAnn Porter who helped organize this event and brought the class members together, to Carol Pate for the use of her Home Economics classroom and to all the students who braved the adventure of spinning Chilkat warp!
Apr 30, 2011 | Class Act, Honoring Others, Latest Art Projects, Tlingit Culture Accentuated, To See or Not to See, Uncategorized |
The following is my Finals Project for my Art Appreciation online class this semester with the University of Alaska Southeast with Professor Karen Meizner from Sitka/Haines. We were instructed to create our own online museum exhibit, with at least 12 works of art. (In my opinion, it’s like we are playing “curator” of the exhibit, oh boy!) With the guidelines kept in mind, I explain my choice works of art, why the works are appealing, and how it affects my personal and/or business life, and my personal “vision.” I describe the relationships these works have with each other and why I have placed the particular objects near or far from each other, including descriptive labels (for the imaginary exhibit and in this case, for my virtual audience), and what I expect my audience and I will gain from this exhibit.
A full-time artist for almost 35 years, I have worked in a variety of mediums, most recently painting and collage. Throughout the years, naturally I have been inspired by a variety of artists such as Haida artist Robert Davidson, Tahltan Tlingit artist Dempsey Bob, Haida artist Delores Churchill, and Tlingit Chilkat weaving teacher Jennie Thlunaut. These artists helped set the traditional foundation of my work from which I sprang into creating contemporary works. In the late 1990’s I began to dabble in painting and collage, introduced by my friend and artist, Cecil Touchon. I have worked in the style of Tlingit Northwest Coast form line art in silkscreened images, Native ceremonial regalia in Chilkat and Ravenstail weavings, button blankets, and cedar bark weaving. Cecil’s cubist-style works were inspiring and encouraged me to take a leap into creating cubist-influenced Northwest Coast paintings.
This exhibit leads the viewer to experience the influences of Tlingit and Western cross-cultural blends and the influence of other artists’ work in my present day work featuring 5 contemporary pieces. I feature seven artists 2 works each who have, and continue to, influence my present-day and future work. Six are presently living, some of which I personally know; others include colorful works by German Cubist nature artist Franz Marc (1880-1916) and I aspire to create works incorporating the style of South American artist Teodoro Reque Liza, where I want to learn how to bring more fractured light and geometry into my paintings and collages. Innovative Tlingit glass artist Preston Singletary introduced the glass medium to Native American artists; Nick Galanin also followed suit by introducing computerized digitally-cut masks made from books and Paul Bond’s oils on canvas paintings portray the spiritual essence and livelihood of human kind. As I mentioned earlier, this exhibit is an example of how a variety of other artists’ work influenced my becoming a contemporary painter.
What do all these artists have in common? 1) Vibrant color, textures and obvious fine talent; 2) Leading edge as a pioneer in their style during the time they “came out” of the woodwork; 3) Courage to experiment and put themselves out there; 4) A sense of playfulness included with a level of spirituality; and dedication to their families, work, community and nation.
I also include a sketch of the floor plan design for the exhibit. The works of art is displayed in a simulated traditional clan house, with the opening at one end, and the triptych painting serves as a “house screen” at the opposite end. Three levels of wood flooring step down to the simulated “firepit” in the center of the room where the “smokehole” (skylight) cast natural light onto the firepit. Additional track lighting casts beams of light criss-crossing the main shaft of natural light from the “smokehole” above. (See exhibit floor plan shown below for more detailed information on exact exhibit layout and lighting design.)
Welcome to my exhibit where I honor those who have helped lead me to where I am today as a traditionally contemporary artist, and the direction of where I wish to go with my imagery. I also include links to view the other artist’s websites. I present you the artists and a small sampling of their work. – Thank you for visiting.
"Hoisting Our Dreams Into the Light of Another Sun" by Paul Bond - 36" x 48" oil on canvas - 2011 - inspired from a line from a poem Paul wrote: "Ladened with the weight of a thousand squandered opportunities, we hoisted our dreams intot he light of another sun." It is about the dichotomy of our dreams as both the burdens, as well as the things that make our lives worth living. Every one of us has unrealized desires. When they are ignored or not followed out of fear that we cannot achieve or don't deserve them, our lives are tethered to an unfulfilled burden. On the contrary, when we pursue those dreams they immediately lift our spirits and give new meaning to our lives in unimaginably miraculous ways."
"Birthing A New God" - Paul Bond - oil on canvas - 48"x48"
Paul Bond’s images can evoke immediate responses of happiness and mysterious wonderment putting the viewer in touch with the spiritual aspect of life creating a pure communication between artist and viewer. His painterly style is similar to Norman Rockwell yet Bond incorporates symbolic images with less components in the overall composition. I have kicked myself time and again when I once had the opportunity to purchase an original painting when I first met Paul in the late 1990’s in Colorado during a dinner party for local artists in the area. For larger views of the above images and read about Paul, please visit his website at: www.paulbondart.com
"Blue Horses" - Franz Marc - oil on canvas - 1911
"Rain" - Franz Marc - oil on canvas
Cubist artist Franz Marc was born in Munich, Germany in 1880. He is best known for the intense nature mysticism of his colorful oil paintings of animals. Marc’s “Blue Horses” is one of my favorite images with the powerfully simplified, rounded outlines of the horses echoed in the rhythms of the landscape background creating a unified composition. I was first introduced to Marc’s work when I visited a museum in New York City and was struck by his magnificent original painting, “Stalls.” I immediately bought a book of his work; Franz Marc inspired me to paint! A few years later, for an art class painting assignment, we were given the task of reproducing our favorite artist’s work on canvas. I chose to paint “Rain.” In the process, I learned so much about cubist design concept, choice and blending of colors, how to create textures and to play with technique to evoke emotion and mystery.
"Fusion Series 3054ct11" - Cecil Touchon - mixed media collage - 7"x5"
"Fusion Series 2999ct10a" - Cecil Touchon - 2010 - mixed media collage - 8" x 12"
Cecil Touchon mixed-media collages employ the use of new and antique papers and posters, maps, reject art prints and antique scripted ledgers, with a touch of color pencil or paints for shading and depth. His bold, graphic style and playfulness lends one to believe that “hey, I can do this too!” (it worked on me…) – and this is the basis of his intent; he wants to show the world that what he can do, anyone can do too and actually make an income! Cecil also works in acrylics on canvas, sometimes painting very large murals in a modern cubist style. He recommends artist create at least one piece of art per day even if it is just a simple sketch; it is part of his philosophy and the way he sees it, you just never know when the work will eventually put the bread and butter on the table. It was Cecil’s encouragement with my first painting lesson that led me into the world of becoming a painter. You may visit Cecil’s extensive website at: www.ceciltouchon.com
"Subtle Forms II" - Teodoro Reque Liza - oil on canvas - 39.4" w x 31.5" h - 2010
"They're Off" - Teodoro Reque Liza - 28.7" x 46.5" - oil on canvas - 2010
Teodoro Reque Liza’s work invokes a “coming home to” emotion with spirituality. It’s as if his paintings reflect a world that actually exists all the time, we are just not aware of it like this painter. He definitely employs a simple graphic sense profound in color, tones, hues and shafts of light – always with shafts of light! Each image has a focal point, a vantage point or a horizon, simple in context and composition yet powerfully moving. I discovered Teodoro’s work on line as I was roaming the internet (which I rarely ever do) to see what other modern cubist-influenced artists are out there. Teodoro is from the land of the Andes. His images reflect the cross-cultural influences of this modern day. Yes, I aspire to meet this artist one day as I aspire to learn more how to paint in his style.
"What We Have Become" - Nicholas Galanin - book pages - 2008
"Imaginary Indian" - Nicholas Galanin - porcelain, wall paper, red cedar bark - 2010
Nick Galanin is one of the few young, Northwest Coast Native artists who is taking the art form style into another dimension and modality. Strong in his quiet and modest mannerisms, his work always twists the minds of fellow artists, the Native community members, collectors, gallery owners and museum staff. His work is true to Northwest Coast style and form combining traditional materials with non-traditional as in the mask made with book pages or the use of wall paper. Nick was one of our artist panel speakers at our Northwest Coast Artists’ Gathering 2008 in Juneau, Alaska. His manner of speaking is as eloquent as his works in any medium he works. You may visit Nick at: www.nicholasgalanin.com
"Oyster Catcher" - Preston Singletary - 20" - 2005
"Bentwood Box" - Preston Singletary - approximately 28"w x 20"h x 11"d - 2004
Back in 1980, Preston Singletary’s glass “cedar hat” hit magazines and newspapers throughout Alaska and Washington State. He takes traditional art forms and creates them in glass. Nobody had ever done this before. Like Galanin, he too has expertise in the traditional form line art as well as the medium he chooses to work; his design work always has a story to tell – the process of how he creates his work, in itself, is always a story to tell! Preston’s glassblown images reflect the innovation of modern-day influences using a modality not customarily traditional. The photographs of Singletary’s work is a work of art in itself with the directional lighting casting shadows where need be to provide the viewer the depth of the “carved” surfaces of the glass work. You may visit Preston’s work at: www.prestonsingletary.com
Below are all works completed between 2000 – 2005. They are my very first paintings on canvas (except for the traditional button robe which is shown as example of traditional art inspiring the contemporary painting). Again, the intentions of including my works in this exhibit is to show my audience the variety of influences from other artists.
"Emergence" acrylic on curved canvas - Clarissa Rizal - based on button blanket robe of the same name - 2000
"Emergence" button blanket ceremonial robe - wool appliqued on wool w/mother-of-pearl buttons - 1992
"Totem Theory I & II" - acrylic on canvasses (there are two identical) free-standing "totem pole" - Clarissa Rizal - 6' h x 28" w - 2001
"Tlingit World Series (TWS) #052 - Clarissa Rizal - mixed media collage - 7"w x 9" h - 2001
"An Ocean Runs Through Us" triptych acrylic on canvas - Clarissa Rizal - 30"h x 10' w - 2005
As stated earlier in this post, below is the floor plan layout for the exhibit. The works of art is displayed in a simulated traditional clan house, with the opening at one end, and the triptych painting “An Ocean Runs Through Us” serving as a “house screen” at the opposite end flanked by the two totem poles “Totemic Theory I & II”. Three levels of wood flooring step down to the simulated “firepit” in the center of the room; the firepit is represented by Preston Singletary’s yellow “bentwood box”. The above “smokehole” (skylight) casts natural light serving as a spotlight for the art in the center of the room; additional track lighting casts beams of light criss-crossing the main shaft of natural light from the “smokehole” above; the criss-crossing of the light reflects the cubist-style paintings of shafts of light and color. The “Bentwood Box” firepit is surrounded by Singletary’s “Oyster Catcher”, Galanin’s Raven mask and book pages mask, each set on pedestals. On the walls are the paintings and collages by the other artists. Each painting is lit by an oil candle resting on a small shelf just below the painting. Here’s the floor plan layout:
Exhibit Floor Plan of the Simulated Clan House - color coded... Violet: Paul Bond - Green: Cecil Touchon - Blue: Franz Marc - Red: Teodoro Reque Liza - Orange: Nicholas Galanin - Yellow: Preston Singletary - Gray: Clarissa Rizal
Thank you for imagining this virtual exhibit with me, and thanks for visiting!
Mar 7, 2011 | Class Act, Tlingit Culture Accentuated |
A view of Dinah Hobson's "office" which is used for subjects pertaining to "Indian Studies" which is where I did my presentation - notice the "button blanket" backdrop for the Native news clippings, etc.
Like they are “just” high school students, duh? Why the heck would I be so nervous in front of them? Like I’ve done presentations and performances to audiences of up to 2000 total strangers; why would I sweat over presenting my life’s work before 13 kids in 9th, 10th and 11th grade who are part of the “early scholars” group? – Well, it’s like this: have you ever kept Jr. High and High School kids from being bored?
High school teacher, Karina Reyes and Clarissa meet for the first time; she asked about the last name of Rizal, like is Clarissa related to the Filipino martyr Jose Rizal? The answer: Yes. He was cousin to Clarissa's paternal grandmother, Patricia Rizal Lampe. Rizal was Clarissa's grandmother's maiden name. Clarissa's birth name was Clarissa Rizal Lampe; when she married in 1977, she changed it to Clarissa Rizal Hudson; when she divorced in 2009, she dropped the Hudson
Dinah Hobson, Jamelyn "Jay" Zeller, Karina Reyes, Nicole George and Clarissa Rizal
Jay Zeller shows Clarissa her drawing pad full of sketched characters and their names.
Leandrea Makaily, Taylee Escalante, Jay Zeller, Nicole George, Clarissa and Karina Reyes hang out and talk "artists talk!"
Feb 28, 2011 | Class Act, Tlingit Culture Accentuated |
Nora Dauenhauer files away her weaving notes in her attache' case of;Chilkat weft yarns
For the past year, Della Cheney has been hosting a group of artists every Sunday afternoon at the Fireweed Place here in Juneau, Alaska. Like Della, most of the artists are Ravenstail weavers, cedar bark and/or spruce root basket weavers, although some of them include additional talents like beadworking, and leather work making moccasins and mittens. When Chilkat weavers joined the basket and Ravenstail weavers last Sunday, Fireweed Place’s activity room was packed. There was a lot of fun and excitement. Time flew!
Yoko Kugo explains to Della Cheney the research she is conducting about whether or not there are effects of climate change on the cedar trees.
There are no specified “teachers” in the group, as we are all learning from one another and teaching one another. There are those of us who know how to weave cedar bark hats, yet are learning how to make moccasins; those that know how to weave Ravenstail and are learning how to weave cedar; those teaching Chilkat who are learning Ravenstail. The combination of learning and teaching goes on and on.
Lorraine DeAsis reinforces her children's knowledge of weaving cedar bark headbands and hats by weaving right along side all four. L to R: Patrice, Joshua, Lorraine, Armondo & Antonio
Leandrea Makaily works diligently on her Chilkat headband
Mary Ebona Miller is weaving three Ravenstail projects on her loom
Shgen George is spinning Chilkat warp on her thigh
Kendra Makaily is learning cross-stitching from Debra O'Gara
Lily Hudson is refreshing Nora's memory about weaving her "bear claw" pattern
A bowl of cedar bark soaks while Patrice DeAsis weaves a cedar bark hat
Eileen is one of Della’s basket weaving students; she has learned enough to pass on her knowledge to others in the group. Although I started my cedar bark hat with Della almost two years ago in a class in Teslin, Yukon Territory, Eileen is helping me complete the very edge of the hat. Both Della and Eileen are wonderful teachers. I’m enjoying the comraderie of these women and all those who are attending the Sunday gatherings.
Eileen Wagner shows Dorothy Owen the 6-strand finishing row of her cedar bark hat
Of course, there are some of us who bring food to share. Eileen is one of those follks. She has been co-hosting this gathering of weavers every Sunday with Della Cheney providing some sort of a hot dish of salmon with rice, snacks and vanilla wafers. She takes really good care of us “kids!” We wanna come back every Sunday for more of everything!
Feb 27, 2011 | Class Act, Latest Art Projects, To See or Not to See |
Brother Rick lights candles for Tim's 53rd birthday - the composition of this photo fell into the "3rds" category
A point-and-shoot kind of gal, I’m stepping into a whole nuther ball of wax taking this online course through the University of Alaska Southeast, and I tell ya, it is so much fun. Sure I have to learn to read my new camera manual, sure I have to read instructions on how-to techniques that I never learned before in Photoshop, sure I’m frustrated with all the gizmos, icons and settings that I gotta figure out in this digital world; these are things that I have resisted doing most of my life. I don’t want to read manuals and instructions; I just want to get out there and shoot. Who’s got time to mess around with instructions!? Gee, believe it or not, I do. I want to learn; i want to expand my horizons, and have fun!
Two Brothers and Mom; this composition also falls into the "3rds" category - this was a powerfully emotional moment for all of us
What is this composition called “3rds?” In my simple definition, it is a composition where the imagery is divided in thirds, which could include diagonal, vertical, horizontal, or curved “lines.” In our on-line class, we can only submit one image per assignment. It is sometimes difficult which one to submit. So I am posting some of the images I chose for the assignment but did not submit along with the one I did submit.
South Franklin Street, Juneau, Alaska - last night - another 3rds composition
"Jennie Weaves An Apprentice" Chilkat robe that I am presently weaving. This was the "3rds" composition that I submitted for my class assignment.
I have rarely seen photo images of Chilkat robes and weavings captured with this type of composition; this is why I submitted this for my “3rds” assignment. I realized that most photo images of Chilkat weavings are straight on shots of the entire robe or close-ups. From now on, I will begin including these kinds of compositions when taking photos of my work. It just makes things more interesting for the viewer, as well as more challenging for the photographer!
On a walk out Auke Bay Recreation area, we saw this pair of underwear, soaked and just hanging out - this was an image that I almost submitted for the "doesn't belong" class assignment
Eagle River Beach skies are always spectacular no matter what time of day, month or year - these hearts (one that is obvious and the other forming) were directly above us - this composition fit under the "doesn't belong" class assignment too. Like how often do you see hearts in the sky, huh? I didn't submit this one because I didn't want my classmates to naturally assume that I Photoshoped that heart in the sky - I swear to God, I did not. And I have a witness that i didn't because there were two of us sitting directly underneath!
A banana washed ashore on Auke Bay beach! This is the image I submitted to my online class for the "doesn't belong" assignment. Why? Because it was dang obvious that this banana just did not belong. If the beach were white, hot sands, the sun were blazing and there were coconut trees with lots of tropical foliage, then I could understand. But, when I saw this banana on the beach, I thought, man what is a nice, ripe banana doing in a place like this!?
The next few images are compositions that I submitted for the various assignments in our online photography class where I did not have other images that I shot for these categories.
This composition fell under the class assignment category "RUBI - a photo that is Relevant, Unusual, Beautiful & Important" - Really? This Photo? Why?
Grand-daughter Violet is a doll; just look at that expression as she checks out the one that is most relevant and considered beautiful (by American standards), while the “foreigners” watch in anticipation and shock saying to themselves “She could have chosen any of us as her baby doll…but how is it she chose THAT one when the girl is only three years old!?” Of course this is my RUBI choice, check it out: A Barbie doll is something we can all RELATE to, my Violet is BEAUTIFUL, the company is UNUSUAL, and it is very IMPORTANT to scrutinize the quality of each doll if you’re paying big money!
The underground train in either Vancouver, B.C. or Seattle - I forget which one; this image I submitted for the class assignment entitled "best represents my concept of photography." I generally use photography for documenting my art progress and work, events, travels, people, places and things - I consider myself a "drive-by-shooter." This image represents my "quick-on-the-draw" method while documenting my travel.
The sound and anticipated taste of fresh, untainted wild water! Nothing like it. We are fortunate to be one of the few places on earth with pure wild water. Nugget Falls, Mendenhall Glacier, Juneau - This photo fell under the assignment of "a photo that appeals to a sense other than sight (touch, hearing, taste or smell)...
My imagination got away with me when I turned around and saw an extended arm reaching out of the fireplace! - This image I chose for the assignment of "disturbing."
Clothespin photo by my son, Kahlil Hudson. The class assignment was to find a photograph (taken by someone else) that was one of the most powerful and riveting images I'd ever seen and explain why the picture was so meaningful.
She never lined her drawers with scented liner sheets, incense or sachets of fragrant dried flowers. Mom loved the smell of fresh air in her clothing. A clothesline in winter didn’t stop her from hanging out the laundry; by golly, they were freeze-dried if it took capturing that fresh, natural scent! How many of us make the time to hang our laundry outside on even the sunny days to capture the wind, sun and predicted rain? When Mom first came to Colorado for a visit the first time years ago in 1993, I had discovered how she was always eager to do the laundry and hang it out to dry (probably because it was always sunny in the town we lived). I didn’t know this about my mother because we didn’t have a clothesline when we were growing up (because we didn’t have any land to make a clothesline post). When I first laid eyes on this photograph, I cried. It brought up the firm reality that I will never see my mother hang my (or her) laundry again, as I no longer live in Colorado and she has become too fragile to reach for a clothesline. This image also reminds me of a time not so long ago in our own home town of Juneau where we weren’t constantly rushing about and actually took time to “smell the roses…” When’s the last time you saw clothing swinging in the breeze?
Feb 4, 2011 | Class Act, Latest Art Projects, Showing Off, Tlingit Culture Accentuated |
Martine Reid introduces Clarissa to an audience enthusiastic about Chilkat weaving in the great hall of the Bill Reid Gallery in downtown Vancouver, B.C.
There are several weavers who are scheduled to do presentations during the Time Warp exhibit on contemporary Northwest Coast weavers at the Bill Reid Gallery in Vancouver, B.C. Canada. Since the exhibit opened in July 2010, 18,000 visitors viewed the beautiful weavings; you have a couple of weeks to visit the show – it closes at the end of this month. Haida weavers Delores Churchill, Evelyn Vanderhoop and Lisa Telford will be doing presentations during the closing weekend. If you are in the Vancouver area within this next month, you still have time to visit this fabulous exhibit.
A few of the beautiful handwoven textiles at the "Time Warp" Northwest Coast Indigenous Weavers Exhibit
Last weekend I demonstrated Chilkat and Ravenstail techniques at the gallery on Saturday and Sunday afternoons. Other than the usual demonstration on the techniques of Chilkat weaving (i.e. two-strand twining, 3-strand braids, interlock and the magical use of the drawstring), I spoke of my perspectives and theories on specific personality traits of the various clans, leading to the specifics on each moiety, the Ravens and the Eagles and how I noticed certain patterns in our clan system, patterns I was once oblivious to and now seem obvious. Like what? Well,… that in a class of 10 students, generally one of them will be an Eagle, all the rest are Ravens. Why is that? I brought up the subject of the Killerwhale women, those who are inquiring about learning Chilkat weaving from me. I know not these women, yet after a few emails and phone calls I have an inkling they are from the Killerwhale clan. How can I decipher that they are from the Killerwhale clan just by a few phone calls? I also answered several political questions, they included:
1). How do I feel about robes being auctioned off (there was a man from a local auction company in the audience who had a Chilkat robe with him inquiring about its age)? How do I feel about robes that are in collections and museums around the world that are not in our presence being used for ceremony?
2). Do I teach non-Natives? If not, why?
3). How do I feel about men weaving Chilkat?
(What were my answers? You’ll have to come to my next presentation! – Check out my calendar on my website to see if I am doing a Chilkat weaving presentation in your area at: Clarissa’s 2011 Calendar) Note: If you are in the Juneau area, I will be doing a two-hour presentation at the University of Alaska Southeast at 10am-noon in the Glacier View Room on Thursday, February 24th).
When I answered each question, I had a story to tell from my own personal experiences as a weaver, a member of my clan, a comrade to fellow weavers, and as a teacher of Chilkat. As you can imagine, these questions are touchy subjects. Yet to my own surprise, I answered each with a level of grace. I bet the audience probably thought I had answered these questions all the time. Not! The presentations that I gave this weekend were nothing like I had done in the past.
The presentations were supposed to be 2-hours; I had no idea I went over another hour to two hours and the audience still wanted more. What more did they want as most of my presentation was storytelling? They wanted more of that!
(Now, bear with me as I tell a story that might sound like I am bragging about myself, but continue, as in our custom, we tell the story full circle before we get to the point.)
Since 1989 I have given public presentations and demonstrations to as few as 25 people up to 2000, in diverse venues including Clan Conferences, the U.S. Forest Service, Holland America Lines tour ships, the Smithsonian, the National Museum of the American Indian, Toadlena Trading Post near Shiprock, N.M., the Anchorage Museum of History and Art, the University of Alaska Southeast, the Alaska State Museum and the Teslin Cultural Center. After that many years, you would think that I’ve got my presentation down pat (i.e. an outline, a power point presentation, handouts, brochures, business cards, and basic answers to the all-time questions). I don’t. I improvise every time. No notes. No nervousness. No worries. I do a presentation depending on the “feel” of the audience, the “feel” of the space, and what the hosts expect (or don’t expect) from me. I hadn’t even realized how “unprofessional” I was until most of the audience flocked about me when our time was up and I just carried on continuing to talk about personal experiences related to my life as a Chilkat weaver as if I had known these people all my life! (Like what is up with that!?)
Luckily, gracious Martine Reid reminded everyone that the Gallery was closing for the day else we probably would have had a slumber party staying up all night talking about art and spirituality, leaving out all business and politics.
In the next couple of days following my presentations, I received several emails from audience members who commented on how moved they were. They mentioned being taken all over the board with humor, contemplation, wonderment, grief, satisfaction and inspiration. The interesting thing was I was moved as well. I hadn’t ever done a presentation where I felt a sense of comraderie with the audience, a sense of peace and excitement all at once, and I carried on as if I were a talk-show host, in fact I even FELT like one – like that host Craig Ferguson! I think I even imitated some of his gestures and stances! I kid you not! – There were also times where I was almost in tears as I spoke about various subject matters including my apprenticeship with Jennie Thlunaut, the stories behind the robes, and just being a full-time, self-employed artist living on the edge where most of us dwell, including recent major life-changing events happening all at once.
On the flight returning to Juneau, I was reflecting back upon all the folks I met over the past weekend. I thought about my gracious hosts, Martine Reid, who is the widow of the famed Haida artist Bill Reid, and her companion, Allan Badger, a retired Chemistry professor. I thought about Megan Smetzer who had come to see my presentation; Megan, who was born and bred in Fairbanks, Alaska had done a presentation on octopus bags of the Northwest Coast at the Sitka Clan Conference back in 2007, which is where we first met. I thought about some of the audience members who introduced themselves and talked a little about their lives. I too wanted to spend more time with these folks. It felt good to see Megan, spend some quality time with Martine and Alan, and meet all these people. I wished that my family were in the audience. I wished all my weaving students were there too. I wished Jennie and all her Wolf Clan relatives were there too. Reflecting back upon these things, I am reminded about how it has been a good experience to be a part of this big picture in the world of Chilkat. When Jenny Thlunaut chose me to be her apprentice in 1986 just two months before she passed, I had no idea the life I would lead because of her choice combined with my choice of having accepted; I’ve had humbling experiences. It’s been an honor.
I also thought about my actual presentations at the gallery; why was I so “on” and full of high energy? I was flying high. Why did I not demonstrate more weaving techniques to the audience; isn’t that what they really came for? And how come I’ve neglected giving thought to presenting myself professionally: the product, the presentation, even my own appearance (generally wearing black sweat pants the past 8 years!).
I’ve been doing this work for over 20 years; why haven’t I “gotten with the program” and been more professional.
Now, I’m getting to the point; it is very simple.
I’m passionate about all the aspects of Chilkat weaving – the spirituality, the design and its meaning, the culture, and the actual finished robe. I’m passionate about sharing the information about this art form. I’m passionate about others who are carrying on this tradition and those who are learning about it. I’m passionate about teaching my students, and in turn they teach me. I’m passionate about my life. Those of us who live an artistic life will most likely understand what I am saying and relate! So of course, my passion would show during my presentations regardless of whether or not I appear “professional!” I’m not really passionate about APPEARING to be professional! OMG, what a revelation!
Martine Reid, Co-curator of "Time Warp" exhibit and widow of the late Haida artist Bill Reid - Photo by Alan Badger
Alan Badger, a retired Chemist, and the woodworker for my Chilkat headboard he made to display my Chilkat robe for my presentation - photo by Martine Reid
Many thanks to Martine and Evelyn for all the work in producing this exhibit and inviting me to do a presentation, as well as including my daughter, Lily Hudson and I be a part of this exhibit with our collaborative piece, “Copper Child.” Many thanks to Anthea Mallinson, a tapestry weaver from the Vancouver area, for loaning the Bill Reid Gallery the frame of her loom to host my Chilkat robe. Many thanks to Alan Badger for making the headboard (strapped to Anthea’s loom) for me to display my Chilkat robe for this presentation, and also for posting some photographs of the presentation on Flickr. Many thanks to the staff and volunteers at the Bill Reid Gallery. And many thanks to all those who came out to this event and exhibit.
To view more images of my demonstration, and the opening of the fabulous Time Warp exhibit, visit the Bill Reid Flickr site at: http://www.flickr.com/photos/billreidgallery
Aug 31, 2010 | Class Act, Tlingit Culture Accentuated |
Killerwhale Chilkat apron in progress by Shgen George
The last day of this Summer’s Chilkat weaving classes ended a couple of days ago – I’ve heard many of the students have Chilkat weaving withdrawal! (This is a very good thing!) We had a beautiful feast this last day. The sun was out, the sky was blue and the food, right down to the pumpkin pie, was fabulous. That’s the best part about Chilkat weaving classes: the excellent food!
The best part about Chilkat weaving classes: the food and the weavers who made the food!
The weavers before the feast
Many thanks to Atricia Makaily for organizing both classes!
Charlene Baker drove down from Pelly Crossing, YukonTerritory to attend this class
Fausto Paulo stands one last time to share a funny insight with his fellow weavers
Debra O'Gara is still chuckling over Fausto's humor; she's also happy to finally learn Chilkat
Assistant student teacher, Lily Hudson reminds Crystal Rogers to "do her braids."
Davina Barrill "puts up" the ends of her braids in the back side
Debra O'Gara admiring Jessica Isturis' fine weaving
Fausto Paulo is turning the bottom corners of his weaving; he is almost finished!
Gail Dabaluz is beginning to shape her Chilkat circle within the box
Jackie Kookesh is shaping the Chilkat eye and eyelid
When Leandra Makaily concetrates on her Chilkat weaving, she concentrates real hard - when she isn't in a concentrating mood, she doesn't weave - it is a good thing to understand this about Chilkat weaving
Marsha Hotch is pleased with her Chilkat circle
Pam Credo-Hayes is weaving the borders for a pair of leggings
Gail Dabaluz is inspecting Pam's Chilkat border on how the "Jennie Thlunaut" corners are woven; like what is that little specific trick!?
With his tapestry needle, Ricky Tagaban is putting up all his Chilkat weft yarn ends in the backside of his completed Chilkat hat; as in the "olden days" it's a process he would like a slave to do - look how he is pretending to be happy about it!
Look closely at the backside of Ricky's Chilkat hat; those are all the ends that Ricky is putting up - imagine how what it is like doing a full-size Chilkat robe! - Now, do you really want to be a Chilkat weaver, or just have somebody else weave something for you!? - that is the question we are all wondering...can you take it!?
Chilkat kids - the children of Chilkat weavers
Clarissa Rizal demonstrates the Chilkat interlocking technique to Charlene Baker
Nobody's weaving...where's everybody? We're busy sharing the Chilkat feast!
When we are finished weaving for the day, no matter what size your loom and its project, we always cover our loom and tuck them in for the night
Some of the looms are covered with a pillow case which is simultaneously used as a carry bag
Some loom covers are clean and pretty dishtowels or bath towels
Some loom covers are cloth gifts from Japan via a Chilkat weaver Shgen Geore, who just recently returned to Juneau from a year of teaching in Japan
Golly! what is the big deal about showing the covered Chilkat looms, huh? How come? – Well, why not!?
The Chilkat "after-feast!"
SEARHC's exquisite board room with skylights and plush chairs, where I've spent the last 6 weeks teaching Chilkat weaving to 25 committed students - whew! what a way to spend the Summer! What a treat!
Most everyone did not complete their weaving – that’s normal for beginners. Many of the students are experiencing Chilkat weaving withdrawal symptoms. That’s real good and real normal. There’s talk of getting together once a week starting on Sunday, September 5th. There’s also talk about doing a Ravenstail weaving class this Fall too. We’ll see. We’ll keep everyone posted.
During the teaching of these two Chilkat classes, for the entire 6 weeks, my fingers have been itching to weave – when teaching others to weave, we go from loom to loom; there’s a rhythm like duck, duck, goose, goose game. We’re just teaching, we’re not weaving our own thing,…it’s hard to just teach and not have moments to weave our own thing during class. It’s hard to control ourselves to not just sit at the student’s loom and just weave their project altogether! Chilkat weavers must have lots of self-control! If we are not born with it, the self-control eventually develops over time because Chilkat weaving and teaching the weaving forms you into things you did not know could exist in you!
Are you sure you want to continue learning and weaving Chilkat?
Aug 24, 2010 | Class Act, Tlingit Culture Accentuated |
Davina Barrill uses a battery-operated headlamp
The effectiveness of using a headlamp is awesome!
Debra O'Gara, Marsha Hotch and Atricia Makaily
Fausto Paulo is weaving the eyelid
Jackie Kookesh is excited about weaving her first Chilkat circle
Jessica Isturis swifty works her white braids
Amber Baker is happy to have the assistance of Leandra Makaily
Lily Hudson and Charlene Baker use the transparency pattern to show where Charlene needs to insert her braids
Lily demonstrates to Charlene the insertion of the braids working the ends up into the backside
Lorraine DeAsis begins the weaving of her circle; she has supported her daughter Patrice DeAsis in learning Chilkat weaving the past three years - now that Lorraine is learning, and like Charlene and Amber Baker, as well as Michelle and Micaela Martin, and Shgen with Gabrielle George, they have a mother-daughter support system!
Self-taught in Chilkat weaving, Marsha Hotch is learning Jennie Thlunaut's fingering technique for speed, accuracy and tension
Pam Credo-Hayes is weaving her first pair of Chilkat leggings
Pam shows Fausto Paulo the leggings pattern
Crystal Rogers demonstrates the fingering technique to Marsha Hotch; Fausto Paulo watches Jackie Kookesh weaving her circle
Aug 18, 2010 | Class Act, Tlingit Culture Accentuated |
14 students learning Chilkat weaving gather in SEARHC's board room
This Chilkat weaving class began Monday, August 16th with 14 students. This is the largest class I’ve ever taught, only because I have an assistant, my own daughter, Lily Hudson. Teaching a class with my special assistant is sooo nice – I’m able to relax more each time I make my rounds with each student and I like that Lily’s knowledge of Chilkat weaving is increasing as well. She is a fine teacher.
This class is unique in that there are four mothers with their four daughters whose ages are 6, 9, 13 and 16. Before this class, I’ve only taught 2 children under the age of 16 (and I have discovered that teaching children is much easier than teaching adults!).
Gabrielle George gifts a cloth to fellow student Amber Baker
When Chilkat weaver, Shgen George and her daughter Gaby returned recently from their year in Japan, they brought beautiful cloths as a gift to each student in this Chilkat weaving class! These cloths are to cover our weavings.
Lily Hudson demonstrates measuring warp using a pre-cut cardboard warp board
My Chilkat weaving teacher, Jennie Thlunaut from Klukwan, had many tricks-of-the-trade including her convenient “warp board” – the device that measures consistent lengths of a weaver’s warp. Each student was given their warp board. Using pre-cut cardboard cut to the proper length of the weaving, they wrapped their warp, cut one end, and “dressed” their looms!
Student Debra O'Gara checks her tension on her cardboard warp board
Pam Credo-Hayes wraps her warp around the board following the direction of the arrow, a guide to keep us in the right direction!
Amber Baker is organizing her warp into bunches of five because her warp size is 10 e.p.i. (warp ends per inch)
Fellow Chilkat weaving student/teacher, Ricky Tagaban teaches eager Amber Baker how to weave Chilkat. Ricky was a student in the previous Chilkat weaving class held in July.
Lily and I invited Ricky Tagaban to come to class and be our assistant-to-the-assist teacher – he’s just plain fun to have around, let along a pretty dang good weaver for a beginner!
Trisha Makaily has moved a project from one weaving loom to another - here she is re-hanging the warp using the cotton cord anchoring strand
Lily guides Michaela Martin weaving her "anchoring row", the first strand on the weaving project that holds all the warp ends in place. Davina Barril, Jessica Isturis, Crystal Rogers and Jackie Kookesh pay close attention.
Lily demonstrates Jennie Thlunaut's unique fingering - notice how some of the weaver's hands are imitating the motion! Crystal Rogers, Charlene Baker, Michelle and Michaela Martin, Jessica Isturis, Debra O'Gara, Davina Barrill and Marsha Hotch laugh at how smooth Lily's fingers fly through the warp - like how can THEY ever achieve that motion, huh!? They'll soon discover!
Pay attention to 9-year-old Amber Baker, a member of the next generation of Chilkat weavers!
Students in this class are: Gabrielle and Shgen George, Michelle and Michaela Martin, Charlene and Amber Baker, Atricia and Leandra Makaily, Jessica Isturis, Crystal Rogers, Davina Barril, Debra O’Gara, Marsha Hotch, Lorraine DeAsis and Jackie Kookesh. The class is for two weeks ending on Sunday, August 29th.
Aug 11, 2010 | Class Act, Honoring Others, Latest Art Projects, To Market To Market |
I am in the process of editing this handbook that I wrote and self-printed for a class I taught at the University of Alaska Juneau back in the Summer of 2005; and I’ve had this handbook available to my students since. I hope to have the edited version completed by this Winter 2010.
This practical guide provides Chilkat weavers of all experience levels pertinent information gained from my apprenticeship in 1986 with the last traditional Chilkat weaver, Jennie Thlunaut; combined with my experiences as a weaver and a teacher of this traditional art form since the mid-80’s; topped with additional information from Jennie’s daughter, Agnes Bellinger. Most of the information in this handbook can also be applied to Ravenstail weaving. With black & white, color photos and drawings, some of the information includes: Jennie’s astounding fingering technique (for speed, accuracy and tension), her philosophies, traditions, values and tricks-of-the-trade; including my apprenticeship with Jennie, preparation of materials and supplies, natural & commercial dyeing, weft color samples, list of suppliers, a traveler’s weaving loom pattern; designs and descriptions; and, keeping with traditions, some of the information is shared with a touch of storytelling. This handbook is intended for use by either an experienced weaver who is seeking some additional information in Chilkat weaving, or utilized as a supplemental guide with a weaving instructor.
You will find the copy of this handbook available for sale on my “Shop and Buy” page of my website; check in with me periodically through this blog or my website. Or better yet, email me your email address so I may may put you on my list to send you the announcement of this book when it comes hot off the press!
