Aug 8, 2012 | Honoring Others, Latest Art Projects, North Tide, Showing Off |
Vanessa prepares to begin weaving the design field of her child-size Chilkat robe
This blog entry is a continuation of “Vanessa Learns to Chilkat Weave” posted a couple of weeks ago. Vanessa is an apprentice to Clarissa Rizal. She has started on a child-size Chilkat robe and intends to complete it by mid-February 2013 for an annual event in her village on the Nass River.
Clarissa completes design for Vanessa’s Chilkat robe; she translated a button robe image of the design into a Chilkat rendition specifically designed for weaving in the Chilkat style – the design is one of Vanessa’s clan emblem, the Frog Starfish – this is a copyrighted design; it belongs to her clan — we request no one else use this design
A modern “Chilkat template” where the pattern is transferred onto clear transparencies – again, this pattern is copyrighted – it belongs to Vanessa Morgan who clan emblem is the Frog Starfish – we request no one else outside of her clan family use this image
Vanessa begins weaving the top central portion of her design field – notice her “Ravenstail” nails!
To establish her left and right boundaries, Vanessa begins weaving the side faces of her Chilkat robe.
With just a couple of weeks of weaving, Vanessa has completed her robe thus far.
Jul 22, 2012 | Class Act, Honoring Others |
Vanessa begins weaving the eyebrows of her Chilkat leggings
Vanessa Morgan and I have been trying to coordinate a Summer for her return to complete her Chilkat leggings. Finally, our schedules coincided almost 7 years later!
When she needs a break from weaving Vanessa spins warp for the other project she wants to begin weaving during this apprenticeship: a child-size Chilkat robe
Vanessa is Ganada (Frog) Clan from Gitwinksihlkw (Canyon City)/Gingolx (Kincolith) on the Nass River in British Columbia, Canada. She is from the original tribe of the Nass, the Nishga’a (meaning “mighty people of the Nass”). Chilkat weaving originated on the Nass and was retained by the Tlingit in the Chilkat Valley. It is most fitting the two of us work together to help return the Chilkat weaving back to the Nishga’a of the Nass River.
Setting in the braids to begin weaving the bridge of the nose
Vanessa has a retail shop offering clothing and other items adorned with Northwest Coast Native designs. The first day she walked into my studio, she claimed she is going to convert her space into a weaving studio AND a weaver’s supply and equipment outlet. I haven’t met anyone else who is determined to create a physical and online store supplying weavers of the Northwest Coast with necessary equipment and supplies; we are excited about this! We are both working on creating an outlet, hers will be in the “South” (B.C. area down to Washington State) and mine will be in the “North” serving Southeast Alaska and Yukon. Stay tuned for the “openings” of both the North and South wings of the “Northwest Coast Indigenous Weaving Shop.”
The weaving room…Clarissa’s leggings are on her loom to the left; one is on a separate heading bar on the backside of the loom, the other is on the front as shown…Clarissa demonstrates on her leggings to avoid demonstrating on Vanessa’s which means there is no ripping back the demonstration….see? see?
Using the Chilkat weaving warp stick, fashioned after the late master weaver, Jennie Thlunaut, Vanessa measures the last few strands of warp
There is nothing like weaving a Chlkat robe. The ancestral ties are strong. The “veil between the worlds” is thin. For many of us indigenous weavers, the feeling is a spiritual communion with all the weavers of the past, present and even the future as all time seems to meld into one.
The process of hanging the warp on your loom is called “dressing the loom”
Some may wonder why I would start a beginner apprentice on a Chlkat robe? Why not? In my book, this is my thinking: An apprentice is a person who is dedicated to”remembering” that which is already in her; someone who already knows what she wants and is determined to do and be the things that is required of a true weaver; she is willing to carry on this tradition for the well-being of herself, family and community. So what if the beginning of the robe the weaving shows her incompetent, imperfect talent? We have to start somewhere. Vanessa will learn everything there is to learn about weaving a Chilkat robe. And best yet, weaving the width of the top border of the robe enables the beginner weaver to get in the groove and rhythm of the weft yarns flowing through the warp to achieve Jennie’s unique fingering technique – like Jennie said “…you get my fingering, you get 1/2 of your work licked!”
Vanessa spent the first day dressing her loom and weaving the first few rows of white – she spent the entire second day weaving her black border – the definition of a day is about 10-16 hours
Stay tuned for Vanessa’s progress on her leggings and her Chilkat robe.
Jul 21, 2012 | Class Act, Honoring Others, Tlingit Culture Accentuated |
Crystal prepares the wool for spinning
4 days before she arrived, Crystal asked if she could spend a couple of weeks with me learning how to spin Chilkat warp and begin weaving a child-size Chilkat robe – it was spur of the moment – holy moly! Okay, we’ll squeeze in a week before the arrival of Vanessa who is scheduled to arrive a week after Crystal.
The following are photos of Crystal’s process of preparing the cedar bark, the merino wool, spinning the two, acquiring her weaving loom and dressing her loom starting her borders.
Splitting cedar bark while tanning
Sunny work space
Proud of her very first ball of thigh-spun warp
Creating a skein of her warp on the umbrella swift, she counts a 35-yard ball ready to wash
Crystal is happy with her apron-size/child-size Chilkat robe loom, she knows she is blessed
With cotton twine, Crystal anchors down the heading cord
Using a “warp stick” fashioned after master weaver Jennie Thlunaut, Crystal continues to “dress” her loom
Weaving late into the night, Crystal has got the “weaver’s bug!” – weave till ya drop!
Crystal weaves the first anchoring row and first rows of white
The beauty of virgin warp on a virgin weaving loom!
Honing her skills in applying Jennie Thlunaut’s unique fingering technique, Crystal glides through the warp weaving the black border
Turning the corners using Jennie’s fingering technique allows the weaver to turn the corners gracefully
Chilkat weaving instructor Clarissa Rizal with two apprentices, Crystal Rogers from Juneau, Alaska and Vanessa Morgan from Kincolith, British Columba, Canada
Jul 1, 2012 | Adventures of Rear-Mirror Rissy, Class Act, Honoring Others, Ravens & Eagles, Tlingit Culture Accentuated |
Israel and Sue Shotridge's new gallery "Raven's Nest" on Vashon Island, Washington State
On my return to Colorado, I made it a point to take a jaunt over to Vashon Island and visit fellow artists Israel and Sue Shotridge who have been living in this small community for the past 15 years and are originally from Ketchikan, Alaska. I wanted to check out their gallery space and their workshop space because I have been invited by the Shotridges to conduct a class in button blanket making and possibly do a First Friday exhibit of my work in November this year.
Sue Shotridge stands behind a display case exhibiting her husband Israel's silver work in pendants, earrings and bracelets
After helping Sue load in some of her back room supplies and seeing this wonderful cozy gallery, and the way she has set it up, I could not help but want a gallery for my work too! hahaha! I never thought I’d ever hear myself say such a thing, let alone think it!
The Shotridges are arranging their schedule of workshops for this Summer into Fall. Check out their website for details on workshops and images of Israel’s work at: www.shotridgestudios.com
Or if you are in the Vashon Island neighborhood, stop by and check out their beautiful creations on the right side of the main drag in downtown Vashon!
Jun 29, 2012 | Adventures of Rear-Mirror Rissy, Honoring Others, Tlingit Culture Accentuated |
Side front of the Kwanlin Dun Cultural Center in Whitehorse, Yukon Territory
According to my friend and weaving colleague Ann Smith, Wolf Clan Kwanlin Dun 1st Nations, Whitehorse, Yukon, 20+ years the new cultural center was in the making; it finally had its grand opening on Thursday, June 21st. It’s a beautiful building located right on the Yukon River in downtown Whitehorse. The grand opening ceremonies was the kick-off for the annual indigenous celebration of Yukon’s Adaka Festival.
The newly-formed Kwanlin Dun Dancers first dance performance
When Crystal called last week and invited me to come with her to Whitehorse, neither of us had any idea about the Adaka Festival – we thought there was a big celebration for the grand opening of the new cultural center; little did we know that it is a BIG celebration! We were scheduled to return to Juneau after two full days at Adarka; both of us had other commitments to attend to in Juneau. As much as we wanted to stay the entire 10-day festival, we had to leave. However, we took full advantage of all the activities that were provided. We are already planning on returning to Whitehorse next year!
One of two leaders/teachers, Sean Smith introduces the Kwanlin Dun Dancers
Grandmother Ann Smith is the leading elder for the Kwanlin Dun Dancers
Traditional and contemporary indigenous performers graced the new stage at the cultural center. Below are a few of the local Yukon performers. I had taken photographs of other performances, but they were not in good focus – (eyesight is getting a bit off…?)
The Raven Courtship Dance
Kevin Barr duet
The Bethel Dancers
Jerry Alfred
Jun 10, 2012 | Honoring Others, Latest Art Projects, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Working the last piece of the triptych
In 2003, (or was it 2004?), while attending Ft. Lewis College in Durango working towards my Bachelor of Fine Arts, I enrolled in a required class: Drawing I. (Now you are most likely thinking to yourself: hmmm….after 30+ years as an artist, Clarissa needs to take a drawing class?) Well…yes, because like I said, it’s a requirement towards my BFA. I learned a lot in that class and will not regret it because it introduced me to working in charcoal and I love it!
Total concentration and thorough enjoyment working in charcoal with the challenge of not getting filthy! - Notice Clarissa is wearing black...
After 8 years, I have finally returned to completing this project. My impetus was to have this triptych to show in Juneau at the Native Art Market during Celebration 2012, however, when I unwrapped it to hang in my booth, there were a few ripples in the paper – the mounting was not done correctly, either that or the change in weather (sunny and warm when I glued it down to cold and damp two weeks later when I unwrapped it!). So no one got to see this triptych; oh well!
Close up of the middle image - I refer to it affectionately as a stylized image of my son, Kahlil - the expression on his face reminds me of when he was a small child about 30 years ago
Clarissa's completed charcoal triptych
Each panel measures 11.5 inches wide by 17.5 inches tall. I recently pulled out the triptych thinking that I was going to figure out how to repair all the tiny ripples where the glue did not take – lo and behold, all three pieces were as it was when I initially wrapped them and there are no ripples whatsoever! What a relief, yet Hmmm….what happened? Can anyone tell me?
May 31, 2012 | Adventures of Rear-Mirror Rissy, Honoring Others, Showing Off |
Heading north to Telluride, Colorado
The first stop on my drive to Prince Rupert, B.C. to catch the ferry to Alaska, was Telluride, Colorado. We were attending the Telluride Mountain Film Festival to see my son’s film “Low and Clear.” How many of you have been to Telluride? No matter what time of year, the drive from the North, South East or West is spectacular…! We drove in from the South via Delores.
Pulling into Telluride
There are two film festivals in Telluride: the Telluride Film Festival and the Telluride Mountain Film Fest. We attended the latter.
Standing room only at the Telluride Mountain Film festival
Kahlil and Tyler’s film “Low and Clear” is a documentary about the relationship between two passionate fishermen. The story is touching, naturally funny in parts, and the cinematography is astounding (and I’m not saying that because my son is an excellent photographer!). See the “Low and Clear” trailer at Kahlil’s website; click here.
Tyler Hughen and Kahlil Hudson answer audience questions; Kahlil portrays slight traits of his Tlingit background - he is almost what the Lower 48ers call "long-winded"...we call it being a natural-born storyteller...
Group shot in front of Telluride's library -Dan Shanks, Clarissa, Tyler's father Ed and wife Sarah, Tyler Hughen, Kahlil Hudson and wife Mikiko Ellis
Walking Telluride is like walking the remnants of once was almost a ghost mining town to an upper-class model of a Universal Pictures set - everything has not only been refurbished, but it is alive with the bustling of people, cars, products and lights...
May 20, 2012 | Honoring Others, Latest Art Projects, Ravens & Eagles, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Clarissa lays out buttons onto recent "Eagle Raven Lovebirds" button robe designed by Preston Singletary, robe fabric choice and fabrication by Clarissa Rizal
Preston and I have finally collaborated on an actual art piece. We have worked together for a few years creating the Northwest Coast Native Artist Gatherings, and we’ve been working for the past who knows how many years towards creating a large glass Chilkat robe – maybe this robe is the impetus for actually making the glass robe come into reality real soon!
Lily assists in laying out the buttons while son, Louis checks out his mother's carefulness
Lily and Louis Hope helped do the button layout; it’s nice to have a family affair especially with cool kids!
Lily begins to glue down hundreds of buttons
Another version of Lily working on the robe while Louis naps in the Ergo baby carrier
completed button robe
The completed robe waiting to be packed up for the Native Art Market at Celebration 2012 in Juneau sponsored by the Sealaska Heritage Institute
May 14, 2012 | For Crying Out Loud, Honoring Others, Relationship Overdrive |
Irene and William Lampe - December 1955 - my mother is pregnant with her first daughter, Clarissa Rizal Lampe
Irene passed away last year on the 4th of July; she was 86 years old. This is the first Mother’s Day without her; somehow as much as I tried to feel okay about this day with my family members, I couldn’t help but feel melancholy – it was always such a special day when our mother was alive. And even though I am not only a mother of 3 but a grandmother of 4, I’m not in any mode to celebrate myself in that role. I must look for another element…I’ll celebrate my daughters as mothers.
May 3, 2012 | Honoring Others, North Tide, Tlingit Culture Accentuated |
2008 Northwest Coast Artist Gathering - Juneau, Alaska ----- Insert L to R: Aldona Jonaitis, Nicholas Galanin, Nathan Jackson, Marianne Nicholson -- sponsored by Artstream Alaska with support from Sealaska Corporation
In 2010 and again this year in 2012, Sealaska Heritage Institute has assumed the role of sponsoring an artists’ gathering held the day before the biennial “Celebration” gathering of the Tlingit, Haida and Tsimpshian peoples of the Northwest Coast. The artists’ gathering is scheduled on Wednesday, June 6th, 11am to 3:30pm at the Old Armory (now the Juneau Arts & Culture Center). All artists working in the Northwest Coast Native art traditions are invited to this event.
For clarity purposes, this artists gathering is a spin-off on the original productions created and sponsored by the non-profit organization Artstream Alaska in 2006 and 2008.
Although the original directors and producers, Preston Singletary and Clarissa Rizal are not a part of the coordination of this year’s event, the following is a brief history of the original Northwest Coast Artists’ Gathering…
Northwest Coast Artists’ Gathering 2006 & 2008 – sponsored by Artsream Alaska
The original Northwest Coast Artists’ Gatherings were sponsored by Artstream Alaska with additional financial support from Sealaska Corporation. The mission of the Northwest Coast Artists’ Gathering is to bring together artists and facilitators that work in the indigenous northwest coast style of art: to foster dialog; to develop connections; to explore new materials and techniques; to inspire new work; and to create a community that is inclusive and thoughtful, and that honors tradition while moving into the 21st Century.
In 2004 Alaska Native artists Clarissa Rizal and Donna Beaver were photographing and filming at “Celebration 2004,” for their regalia documentary project. Clarissa spent time with long-time friend and fellow Tlingit artist Preston Singletary. The concept of creating an artists’ gathering began when Clarissa and Preston talked and wished for an opportunity to meet each other’s artist buddies (Clarissa introduces Donna and Preston). They had no idea that they would meet over and over again, even later that year in September 2004, with approximately 20,000 Native Americans from all over the hemisphere at the opening of the Smithsonian Institution’s National Museum of the American Indian (NMAI). and with assistance from Artstram’s Board of Directors and other volunteers, Preston and Clarissa coordinated the first NWCAG in 2006; four years later in 2008, and again with assistance from Artream’s BOD and volunteers, Chloe French coordinated the Northwest Coast Artist Gathering receiving support from the NMAI.
The Northwest Coast Artist Gathering was a unique opportunity for artists from all backgrounds who work in Northwest Coast inspired art forms to meet and share information about themselves and their work. The event was sponsored by our non-profit Artstream Cultural Resources (now Artstream Alaska) and partially funded by Sealaska Corporation. Artstream Alaska held the first Juneau event in May 2006, one day before Sealaska Heritage Institute’s well-known biennial Celebration. This first Gathering – as it is sometimes referred to – was a one-day event and drew about 125 artists and arts organization representatives.
The second Artist Gathering in June 2008 was a two-day event, again sponsored by Artstream Alaska with partial funding from Sealaska Corporation and NMAI and coordinated by artist Chloe French. The first day featured an artist panel discussion on Native Alaskan art-related issues, sponsored and organized by the NMAI. Several Alaskan Native artists made up the panel — including Marianne Nicolson from Victoria, B.C., Nathan Jackson from Ketchikan, and Nick Galanin from Sitka, along with moderator Aldona Jonaitis, Director of Museum of the North, University of Alaska, Fairbanks. Later, all participating artists were given the opportunity to introduce themselves during a Power Point Presentation featuring their work; this is a highlight of the event since many have either seen an artist’s work and not met the artist or have met the artist but was not familiar with their work! During the second day, Gathering participants worked on an interactive collaborative design project based on the issues discussed during the morning’s panel discussion. Keynote speaker Walter Porter from Yakutat gave his lecture,“Box of Daylight” (view Walter’s lecture from event). Both days’ activities were held at the Old Armory in Juneau.
Many events occur during the Sealaska Celebration. Artstream was pleased to be able to provide space at the Old Armory for the HAIL awards ceremony, spearheaded by the late Andy Hope III. HAIL stands for “Honoring Alaskan Indigenous Literature” and that organization’s event presented awards to five outstanding Native Alaskan writers, of which Clarissa Rizal received one of the awards for her “Jennie Weaves An Apprentice: A Chilkat Weaver’s Handbook.” Artstream also agreed to rearrange its Gathering schedule to accommodate Sealaska Heritage Institute’s final set up preparations for the Native Artists’ Market, which was also to be held in the Old Armory following our event.
The Gathering’s volunteer organizing committee included Clarissa Rizal, Preston Singletary, Aldona Jonaitis, Jan Steinbright, Donna Beaver, Chloe French, Doug Waugh that reflected a mix of cultural and professional backgrounds, including teachers, artists, curators and arts activists, both Native and non-Native. A big thanks to all the artists who attended and all our volunteers who made 2006 & 2008 Gatherings a success!
Northwest Coast Artist Gathering 2006 & 2008 coordinators L to R: Doug Waugh, Aldona Jonaitis, Alan Pizzarelli, Donna Beaver Pizzarelli, Clarissa Rizal, Jan Steinbright, NMAI art director Keevin Lewis, and Preston Singletary
The 2012 Native Artists Gathering sponsored by Sealaska Heritage Institute is inviting all Native artists to bring photographs of their work to share and network. There will also be an artist panel discussion and light refreshments. We envision SHI’s gathering of artists is a welcomed event and enjoyed by all!
