Aug 3, 2011 | Class Act, Honoring Others, North Tide, Tlingit Culture Accentuated |
Instructor Debra Carlick demonstrates her cedar bark tricks-of-the-trade to fellow cedar bark instructor Lily Hope as Dan Shorty and Jane Smarch pay close attention
Debra Carlick and Lily Hope taught a cedar bark weaving class held during Teslin’s “Celebration 2011” in Teslin, Yukon Territory, July 25-30, 2011. The class began with 4 students; by the end of the week, there were 15 students!
The weaving classes were held in the Boat House on the shores of Teslin Lake at the Teslin Cultural Center
A nice shot of the weavers' room with an antique wooden boat in the Boat House
A view from the center of the Boat House looking out towards Teslin Lake
Yeah for the gift of cedar and all those willing to keep up with the traditions!
Splitting the bark
Separate bags of soaked cedar helped identify students' prepared materials
While weaving cedar bark, we must keep our materials damp and supple for ease of workability
The youthful generation joined the class
Rhonda demonstrates while enthusiastic visitors and classmate Dan look on
Cedar bark instructor Debra Carlick with new student Teslin elder Jane Smarch
Many visitors and enthusiasts of cedar bark weaving!
Tlingit dancers from Juneau, Alaska visit the class too
The serene excitement of completing his hat!
Her completed cedar headband trimmed out with mother-of-pearl and abalone buttons
Charlene Baker's composition of the "Completion Song" sung each time a student completed their Ravenstail or cedar bark weaving
Dan Shorty sports his cedar bark headband (made in this class) with weaving instructors Lily Hope and Clarissa Rizal sporting their hand-sewn Ainu headbands
Chilkat and Ravenstail weaver Amber Baker is on her way to completing her cedar bark hat
Jul 18, 2011 | Honoring Others, Latest Art Projects, Relationship Overdrive, Tlingit Culture Accentuated |
Clarissa Rizal weaving the tail end of the design field of "Jennie Weaves An Apprentice" Chilkat dance blanket robe - July 2011
After 4+ years, this robe is scheduled to come off the loom on Friday, July 29th at Teslin’s Celebration 2011. I am hoping to have this robe danced then…we’ll see! This is my first of a series of robes I have designed of a Chilkat robe within a Chilkat robe. To distinguish the difference of the two, notice the blue being used in the smaller robe and the green used in the main body of the robe.
Why has it taken me 4+ years to complete this robe? That very long story, along with the design description of this robe, I will tell when I complete the robe, make another move and settle down for a little while; I will include photographs of the various “landmarks”; stay tuned on that one.
Jul 12, 2011 | Honoring Others, Relationship Overdrive, Tlingit Culture Accentuated |
Strolling along Auke Bay with Irene Loling Sarabia Lampe wearing one of her favorite hats - 2007
The following is written by our sister, Irene Jean Lampe (Photographs taken by Clarissa unless otherwise noted):
Irene Loling Sarabia Lampe was born June 25, 1925, in Port Althorp, Alaska. She died July 4, 2011, at age 86. Her Tlingit names were Latseenk’i Tlaa, Naax Seex Tlaa, and Xaays’ Neech. She was Raven Takdeintaan from Kaa Shaayi Hit and Tax’ Hit of Hoonah, Alaska, and Kaagwaantaan yadi and Kaagwaantaan dachxan.
Irene's parents Grandpa Juan and Grandma Mary pick apples with the smiling Jack Henke at 10 years old - circa 1960 - (photo courtesy Irene's family album)
Irene’s mother was Mary Wilson Brown Sarabia whose Tlingit name was Lxeis’. Mary’s first husband was Paul Brown, a Kaagwaantaan and song composer. Irene’s maternal grandmother was Jennie Edna White Wilson McClancey whose first husband was Bill Wilson, Kaagwaantaan, and second husband, Peter McClancey. Her maternal great-grandmother was Mary Phillips.
Irene's father Juan Sarabia - 1976
Irene’s father Juan Sarabia was a member of the Visayan tribe from Aklan province of the Philippines (PI), northwest portion of the Panay Islands in the Western Visayas Islands. Juan left PI and signed up with the U.S. Army in Hawaii in 1918. He traveled up the Pacific Coast to Alaska where he jumped ship with another soldier for a short time period. He was adopted into the Kaagwaantaan by Harry Marvin and given the name Deixyaanteen.
Irene’s husband William Boyd “Bill” Lampe was Bikolano from the southeastern peninsula of Luzon Island, the island where Manila is located. He was adopted into the Kaagwaantaan by Willis Peters and given the name Chaalk’ Tlein (Big Eagle). Irene affectionately nicknamed him “Lano” and in recent years, “Dudley.” Bill gave Irene the nickname “Bip.”
Bill saw Irene for the first time when she traveled to Seattle on the Princeton Hall sometime during the school year of 1947-48. She was a member of the Sheldon Jackson high school choir and they traveled for 3 weeks to perform in Seattle. Bill loudly said to her, “I’m going to marry you one day!” Later he met Irene again while working at Excursion Inlet cannery. Bill and Irene married on August 20, 1955.
William and Irene - Christmas in Seattle at his mother's house - Christmas 1955 (photo courtesy family photo album)
Irene grew up in Hoonah and Excursion Inlet. In 1935, she was enrolled in 1st grade at age 10 because her mother witnessed the negative effects of a western education system towards her older daughters. Her mother tried to shield her from the harsh treatment received by her older sisters. Irene barely knew any English at the time and was punished by school authorities for speaking the Tlingit language. She quickly learned the English language and continued to study it into the 1960s.
William and Irene stand in front of the The Excursion Inlet Packing Company cabin where we spent summers (50s & 60s) while she worked in the fish cannery and he was a fisherman - 2007
She enjoyed playing sports and was a member of the Hoonah Braves volleyball and basketball teams. During the summer months, she lived in Excursion Inlet and went to fish camps in Glacier Bay, Dundas Bay and Icy Strait to preserve food for winter. She fondly remembered gathering seagull eggs at Marble Island in Glacier Bay.
In 1941, Irene and her parents spent a year in Juneau. They rented a house at the bottom of Carrol Way and South Franklin Street. Irene had to walk to a bus stop where Fireweed Place is currently located to catch the bus across the Douglas Bridge to attend the government elementary school in Douglas, now the Douglas Montessori School.
In 1948 she was the valedictorian of her graduation class at Sheldon Jackson High School. She sang in the high school choir. She graduated with her close friend Katherine Wanamaker Goade. Just after graduation, Irene had enough money to travel to Seattle with some classmates. She wanted to attend Griffin Business College but her mother begged her to come home after being away from home for four years. Irene cashed in her ticket and returned to Hoonah.
Irene's long-time friends Katharine Goade (left) and Rachel Carpenter (right) - Celebration 1998
Besides babysitting for relatives and employed as a cannery worker for Excursion Inlet Packing Co., Irene’s first job after high school was as a waitress at the Alaskan Lunch Box, now the Alaskan Bar. She was also a housekeeper at the government BIA hospital near the present location of Federal Building and at St. Ann’s Hospital.
In the 1960s while working a full time job during the day, she attended Juneau Community College in the evening for about 5 winters where she enrolled in bookkeeping, shorthand, dictation, transcription, English, and typing classes. She was one of a handful of Tlingit women who were hired by the State of Alaska. She worked approximately 16 years for the State as a file clerk with Fish & Game, a clerk with Health & Social Services, promoted to an accounting clerk with Labor, and transferred to another accounting clerk position with Revenue Treasury Division. She quit State employment to work for Tlingit Haida Central Council for approximately 15 years. When she began work for T&H, there were only 2 employees – her and Ray Paddock, the president. She always said he was the nicest man anyone could work for.
Irene taking communion at St. Nicholas Russian Orthodox Church - 2008
Irene attended the St. Nicholas Russian Orthodox Church in Hoonah and Juneau following her ancestors. She believed in the Church because the Tlingit language was used in the services. She knew all the songs in Tlingit. A parish group photo was taken at the church on May 4, 1929 when she was 4 years old. She wore a hat in the photo and continued to wear hats throughout her life.
St. Nicholas Russian Orthodox Church - 1929 - Irene is sitting under the icon - the littlest one on the right wearing the hat - (photo courtesy Fr. Simeon)
Irene’s belief in the afterlife was heightened when she had a near death out of body experience in the late 1950s. She lay unconscious in a hospital room and recalled looking down at herself from above. When she woke up, she asked the attending nurse if there was a piece of crushed paper in the trash can next to her bed. The nurse said, “why yes, they haven’t cleaned the room yet.” Irene said the nurse then looked perplexed and asked, “how could you know?”
Irene was a fluent speaker of the Tlingit language. She enjoyed conversing in Tlingit with other speakers and young people just beginning to learn. She especially like to listen to elders such as Andrew Johnnie and Clarence Jackson for their excellent speaking skills and storytelling. She would literally gasp with excitement at their speaking ability.
Grandma Mary Wilson Sarabia sewing moccasin tops - 1972
Irene learned the art of bead work from her mother. Her first lesson was to thread all needles for her mother who was an excellent bead worker. She beaded many moccasin tops for her mother which helped to provide a source of income for her mother and family. Irene spent many hours every day devoted to bead work especially during her retirement years. She made several Takdeintaan beaded crests and octopus bags and handed them out to family members. When she was no longer able to thread needles, granddaughter Lily thread the needles for her.
Portrait during Celebration 1994 - (photo courtesy Wilhelm Photography)
Irene dancing at Celebration 2000, with friends Lillian Austin (left) and Marlene Sternberg (right)
Irene with lifelong friend, Pedro Barrill - Grand Entrance Parade - Celebration 2000
Irene loved Tlingit dancing and singing. She was a member of Yun Shuka dance group in the 1980s and danced with the Mt. Fairweather group on several occasions. She participated in every Celebration since the very first one in 1982 and except 2010. She was always excited about the Grand Entrance parade.
Irene in pink dress (hand-sewn by Clarissa) for New Year's Eve - 1988
Irene and Bill also loved to dress up in their finest to go out dancing at the Dreamland, Occidental Bar, and the Baranof Latchstring. They celebrated all the holidays by going out to dance. They especially liked dressing up in costume on Halloween.
Irene was washing dishes; Dad pulled her out "onto the dance floor" in the livingroom - (notice the rubber gloves) - 1999
Irene crocheted many blankets and gave to family members. She also gave away stacks of them at each of her sister’s memorial potlatches. She taught Bill to crotchet when he had a heart attack and stayed home more often in the evenings instead of going to bingo. He was so proud of his work.
One of Irene's first afghan's - 1980 - (A gift on the occasion of granddaugther Lily's birth)
Irene liked to walk and pick berries with her best friend Lillian Austin. Irene would walk from her house in Lemon Creek to Lillian’s house in Switzer Creek and together they would walk to Fred Meyer and back. They often picked berries at North Douglas. On several occasions they saw black bears walk right by them. Irene would be afraid to say anything to Lillian but when the bear departed, Irene would quietly say to Lillian, “Let’s go now” so as not to scare her.
Irene and Bill loved to travel to Hawaii, and to visit relatives and friends in Washington. Almost every other year, Bill got the driving bug. They drove to Anchorage to visit her niece and her husband Edna and Sam Lamebull, and to visit her brother Robert Sarabia in Seward. Irene’s sisters Katherine Mills and Sue Belarde joined Irene and Bill on a couple of road trips north.
William, son Timothy, and Irene Lampe - Hawaii - 1996
Irene was well known for her sense of humor, she liked to make people laugh! Often she would say or do something so hilarious in public that Bill would feel embarrassed and walk away from her. She collected and distributed photocopies of jokes and cartoons to friends and co-workers that would be considered “harassment” by today’s standards. Many former co-workers, especially at T&H, said they enjoyed working with her because of her sense of humor.
Irene pulls out her file folder of jokes she collected for many years - 1999 - (photo courtesy Dee Lampe)
Irene loved going to the movies to see comedies and scary movies. She was always laughed the loudest in a theatre. She loved to watch scary movies with Bill every Friday night. The more gruesome the movie, the better.
In her youth, Irene was always ready to participate in pie and watermelon eating contests. She said once her entire face was covered with blueberries. It’s no wonder she had a healthy appetite for such a little lady in her later years.
Irene was close to her brother Edward Sarabia, Sr. Photos of their youth indicate a sense of humor and as they got older, there was always laughter between them.
Irene lived up to her name Latseenk’i Tlaa (meaning strong little mother) in mind/body/spirit. In the face of adversity, discrimination, hardships, she overcame obstacles to provide a better life for her family all along maintaining that sense of humor and laughter. Irene sometimes made up her own words and instead of goodbye, she said “Boombie” which were her last words to her children. She will forever live on in the hearts of all those who knew and loved her.
Irene doesn't wave "good-bye" - she waves "Boombie!" - June 2011
Irene was preceded in death by her husband; parents; son Robert Allen Lampe, brothers, Edward T. Sarabia, Sr. and Robert “Bobby” Sarabia; sisters and their spouses, Katherine and Gilbert Mills, and Sue and Eladio Belarde; nephews, Gilbert “Butch” Mills and Patrick Mills; nieces, Barbara Sarabia Casey and Phyllis Mills Bean; aunts, Susie Wilson Davis and Kitty Lawrence; uncles, Mike Wilson, Alex “Shorty” Wilson, and Frank Wilson; extended family members, Sophie Davis Hanke, Leonard Davis, Fred Hanke, Jr., Joe Moses, Mary Lawson Jones, Gertrude L. White, and Moses Alex John. She was also preceded by three cats, Midnight, Kiki, and Kobe.
She is survived by her children, Richard Lampe, Clarissa Rizal, Tim Lampe, Irene Jean Lampe, Deanna Lampe; grandchildren, Amber and Brooke Lampe, Kahlil Hudson, Lily Hope, Ursala Hudson; great-grandchildren, Elizabeth Hope, Violet Hudson, and Amelie Haas; daughter-in-law Sarah Lampe; sister-in-law Helen Sarabia and family; Takdeintaan Mills and Belarde families; extended families of the Takdeintaan Head House; many friends, and her husband’s cat Bingo.
Pallbearers:
Frank Lee
Norman Sarabia
Kahlil Hudson
Ishmael Hope
Thomas Mills, Jr.
Aengus Saya
Honorary Pallbearers
Charles Jack
Thomas Jack
James Jack
Earnest Jack
David Katzeek
Ralph Knudson
Sam Lamebull
Harold Martin
Alfred McKinley, Sr.
Edwin Mercer, Jr.
Mickey Pico
Frank White
Ray Wilson
Guy Benningfield, Sr.
Lillian Austin
Bea Brown
Rachel Carpenter
Lillian “Ginger” Collier
Katherine Goade
Annette Hanke
Flora Huntington
Violet James
Jessie Johnnie
Anna Katzeek
Jennie Lindoff
Cecelia Unik
Lily White
Memorial service will be held at 6 p.m. Tuesday, July 12 at Tlingit and Haida Community Building, 3625 Hospital Drive in Juneau. Cards may be sent to Deanna Lampe, 350 Irwin St. #411, Juneau, AK 99801.
Thank you to all who helped make the memorial possible. Thank you to Donald Gregroy, our Chief Chef. Thank you to Tony Tengs of The Chilkat Cone for his donation of Chilkat cones for the memorial reception dessert. Thank you to several of my lifelong friends who helped serve the food, including: Charito Reid, Margaret Ramos Ashe, Lis Saya, Kelly Burnett, and Rhonda Mann.
Gunalcheesh, ho ho!
I have posted a previous blog entry last week “An Eternal Friendship With My Mamma” with more photographs and memoirs in honor of our mother, Irene Loling Sarabia Lampe.
Jul 5, 2011 | For Crying Out Loud, Honoring Others, Relationship Overdrive, Tlingit Culture Accentuated |
Irene and Clarissa at Celebration 2000
My mother passed away yesterday on a day of freedom, Independence Day, the 4th of July. I know my mother has been liberated from the restraint of her aged, wretched body. After intense suffering since the passing of our father over two years ago, including the recent passing of a son three months ago, she’s now a free woman. 8 days prior, she turned 86.
Irene with Clarissa and younger brother, Timothy - Summer 1958
Irene Loling Sarabia Lampe was born June 25, 1925 in Port Althorp, a place that doesn’t exist anymore, near Hawk Inlet. She was born during her family’s Summer fish camp to Juan and Mary Sarabia. They spent their winters protected from the cold North winds in the small village of Hoonah, near Glacier Bay. Eventually her parents worked Summer months at the Excursion Inlet Packing Co. (XIP); and in 1955 while working at the cannery, she met and married my father, William Lampe on August 20th. Nine months later, I was born. My parents dispute over my name. I would have been named Kate if I were born on June 5th, my mother’s eldest sister Katherine Mills’ birthday; or, I would have been named Patricia (i.e. Pat), after my father’s mother Patricia Rizal Lampe if I were born any other day other than June 5th. However, the day before I was born, my father dreamt a girl would be born to them and her name was Clarissa, a name he had never heard before.
William B. Lampe & Irene Loling Sarabia Lampe model the Eagle & Raven button blanket robes made by their daughter Clarissa - 1987 - collection of Tlingit & Haida Central Council offices, Juneau
Irene helps sew the button blanket wall mural "Following Our Ancestors' Trail" - 1992 - Private Collection, Austin, Texas
Most of her adult life, our mother helped support our family by working for various state and local agencies including the State Department of Education, Department of Health & Social Services, the Department of Revenue and Tlingit & Haida Central Council. A year after she retired in 1990, she said she didn’t know how she got all the things done that needed to get done when she worked a “real job.” She enjoyed traveling with her husband, hosting her grandchildren overnight, sewing quilts, crocheting afghans, taking daily walks and getting back to her bead work. She said she learned how to bead work when she was 5 (I have that 5-year-olds’ first beadwork), and that it felt good to get back to beading after almost a 60-year absence.
Sewing a beaded eagle for the back of her husband's vest - June 2005
One day I realized that I didn’t have a button blanket of my own. (Uh, huh. You are most likely thinking about the shoemaker who doesn’t make his own shoes and goes barefoot. Yep. That’s what I had been – over 20 years as a regalia-maker of robes for others, but not for myself nor family – yup!) Because I could create any kind of robe I wanted, from a Chilkat robe to a Ravenstail robe to a button blanket, I asked what kind of robe would I make for myself, and the answer was: “…you design the robe, coordinate the colors to match your tunic (I inherited in 1976 from my maternal Uncle Leonard Davis) and have your mother do the bead work; it will then hold special meaning for you…” – of course, why didn’t I think of that long time ago!? – The robe is made with deep red and deep brilliant blue melton cloth of 100% wool, antique, carved Mother-of-Pearl buttons, and machine-embroidered braid. The bead work and designs were sewn by my mother; I sewed the robe and did the embellishments with the embroidered braid and buttons. Below are images and details of the robe.
Clarissa's Black-legged Kittywake T'akDeinTaan button blanket robe - a collaboration with mother Irene Loling Sarabia Lampe who did all the bead work, and Clarissa designed and sewed the robe - 2005
*(For many our clan assumed the emblem as the common Seagull, and for many years I had questioned and doubted our clan emblem as a Seagull because the beaded representation of our clan designs was a bird that had a golden beak, black markings towards the tip of its wings and if there were legs portrayed in the design, they were black; plus, there was generally two birds hovering above a nest – to indicate that the nature of the bird: both parents raise their young. Due to my sister Irene Jean Lampe’s research a several years ago, we are now on the right track of the true identity of our clan emblem of the Black-legged Kittywake T’akDeinTaan.).
Small sea bird commonly dwells on cliffs near glaciers called the"Black-legged Kittywake" - Clan emblem to the Alaskan Tlingit T'akDeinTaan - beaded by Irene Loling Sarabia Lampe for her daughter Clarissa's robe - 2005
Close-up of the carved, antique Mother-of-Pearl buttons placed on the machine-embroidered braid along the borders of the button robe - Clarissa Rizal - 2005
When I put together the robe, I felt a need to “give back” to my mother. What could I do to repay her for the hours and talent she put into my robe? She would not take money from me. So I left the “debt” wide open until the idea came a year later when we were looking through her large box of all the bead work she had created over the course of 15 years since she retired in 1990; she had beaded flowers of all sorts and sizes and she had beaded at least 10 of the Black-legged Kittywakes. Suddenly, the idea popped into my head: “…sew up button robes for all of your Mother’s children and grand-children and place her bead work on each robe…” She loved the idea. This project ended up being a collaboration between mother, daughter and granddaughter; I sewed the robes, daughter Lily sewed the buttons, and we sewed down Mom’s bead work on each robe. We also sewed a couple more octopus bags fashioned after the one (on the right) that my mother had sewn. A weaving apprentice Julia Sai Carlson, had helped attach Mom’s bead work to the bags too. I had never sewn octopus bags before; it was fun. All the bead work was designed and sewn by our Mother. Below are the three octopus bags with Irene’s bead work.
The Octopus bags - August 2005 - collection of Robert Lampe's family
After my parent’s 50th wedding anniversary dinner on August 20, 3005, we went to their house to do a family ceremony of “bringing out the robes.” My parent’s children and grand-children were present. My mother gave a speech; it was an emotional time for her. (She had said she is not a public speaker – not even in front of her own family.) I was proud of our Mother. She spoke of how she kept the old bead work patterns that were once her Mother’s (Mary Wilson Sarabia), she mentioned that each robe had our clan emblem, the Black-legged Kittywake T’akDeinTaan, or a beaded raven (for our brother, Robert); she hoped that each of us would keep our robes long after she was gone. Directly after her speech, our sister Irene Jean sang and drummed a Tlingit song, and for the first time in our family, we witnessed all our family members dancing together; it was a thing of beauty, we laughed together. I felt this was a significant moment in our family’s life. My parents beamed.
We honored our parent's 50 years of marriage, with new robes for all the children and grandchildren - August 2005
Also, as part of our parent’s 50th Wedding Anniversary, we took a 3-day trip to Excursion Inlet. Included in our entourage was my sister Dee, my kids Kahlil and Lily, my apprentice Julia and myself. We joined our brother Rick, cousins Janie, Linda and 2nd cousins Thomas and Lydia. I have fond memories of spending a few Summers in Excursion Inlet when I was a child; it was a good feeling to hear stories of my parent’s days as young adults – it was good for my own children to experience the place and to hear the stories. We tend to forget that old people were once young.
William and Irene walking the "boardwalk" in Excursion Inlet - the cannery village where they first met in 1955 - He was a fisherman with his own seiner and had stopped there for the Summer, she worked in the cannery - August 2005
Another thing my mother incorporated into her life as soon as she retired was a daily walk. No, not just a walk around the block, but a real walk! Years of working at a “normal” job kept her in the condition of waking at 5am, so by 6am she was ready to go. From the age of 65, she began walking at least 6 miles a day. Sometimes she would walk with her friend, Lillian Austin. Sometimes she walked with another friend, Rachel Carpenter. She paced a steady rythym. I remember a time about 10 years ago, when she was 76, our brother Bunny met us at the Hoonah ferry terminal and we walked into town. At one point, we noticed she was walking way ahead of us; none of her kids nor husband kept up with her pace! The following photos are a few places where we walked…
Walking the Flume - July 2007
Walking the Juneau tour ship dock...June 2007
Walking Auke Bay...August 2007
Taking a rest on the Dan Moller Trail...2001
Starting in 2005, my parents began to ask me when I would move back home, so in 2007 I moved up to Juneau for about 7 months. During this time we took a couple of ferry trips; one to Hoonah (and my father hadn’t been there for over 30 years), and the ferry to Skagway to drive up to Whitehorse, Yukon Territory (a place they would pass through when they took their annual Summer drive into the Yukon and interior of Alaska.) I also took my parents on day trips in Juneau they hadn’t been in many, many years like the Lena Loop picnic area, Auke Bay, Eagle Beach, Echo Cove, Thane Road, Evergreen Bowl, Twin Lakes and Sandy Beach; and to places they had never been like The Flume and the Treadwell Mine. I knew then what is confirmed now: Forever I will cherish the Spring/Summer of 2007 – the time I made to enjoy with my parents.
William & Irene walk the Treadwell Mine Trail...July 2007
About 20+ years ago, my father, who was an avid gardener, had too many packets of daisy seeds. (I say “too many” cuz I quote my Mom.) During those years, my Mother walked Twin Lakes often with the family dog, Nick. One day she took several packets of the daisy seeds and sprinkled them on the banks between the highway and the Twin Lakes path. Over the years, the daisies have naturally spread their seeds. Right now, the daisies are in full bloom. The following two photos are of my parents during one of our walks back in 2007. During this walk, Mom and I told Dad the story of her sprinkling the seeds which resulted in the entire banks covered with daisies. As we walked the path, although my father’s response was an “Umph”, my mother and I knew he was proud of her. My Mother smiled quietly; she was very happy to be walking the path with her husband.
Irene walking Twin Lakes admiring all the daisies she "planted" many,many years ago...July 2007
William & Irene walking Twin Lakes - notice the expressions on their faces - he commented "hmmmm....I guess that's pretty good" - and she all along smiled with a spirit of satisfaction and pride...July 2007
Irene's of late walking shoes and cane - July 4, 2011
In 1996, I designed and created a leather button blanket style robe in honor of my mother Irene Lampe, in honor of mothers around the world, and in honor of our Mother Earth. It is called “Mother Earth Child.” The circle is the earth and the womb; inside the “womb” a mother tenderly embraces a child, the child tenderly touches the lips while listening to the mother. The circle of human hands represents the constructive and destructive nature of mankind. The robe is made of forest green leather machine-sewn appliqued upon turquoise leather with antique Mother-of-Pearl buttons. The turquoise represents the ocean and sky; the green represents the land.
The robe is currently displayed in the Hilton Hotel lobby in Juneau; it is part of the permanent collection of Native art of Goldbelt, Inc. I wasn’t sure about selling this robe to be displayed in a public art setting. Yet, as I am writing about this topic, I realize the robe in a public setting can be a reminder to all of us how important our mothers are.
Sewing the leather button robe in honor of my mother, "Mother Earth Child" on the 1935 Singer machine - August 1996
When my mother turned 70 in 1995, I felt it was time to honor my relationship with her; I began drafting out this design. My mother and I were not just mother and daughter; we were friends. I cannot remember a time when we had any disputes or discord between us (except maybe when I was a teenager and she worried about me like most parents do with teenage children!). She was always respectful of me even though she did not always agree with some of the decisions I made in my life and I was respectful of her even though I may not have agreed with some of the decisions she made in her life. Our mother was kind and generous to all of us. She watched out for us, protected us, guided us and she had a great sense of humor. Like most parents, she was always “watching our back” even to her very last day. Even though she is no longer in physical form, I think she will still be watching our back. Our mother loved us.
I will greatly miss our mother. Yet, as long as I live and my memory remains good, I will continue to have a lifelong friendship with my Mamma.
In honor of Irene Loling Sarabia Lampe: "Mother Earth Child" - copyright Clarissa Rizal - 1996 - collection of Goldbelt, Inc., Juneau
Jun 27, 2011 | Health and Wellness, Honoring Others, Tlingit Culture Accentuated |
Close-up of yoke of Tunic #1 - synthetic fringe, machine-embroidered trim, bias tape, felt body
I must have been almost 16 when I met him. I think it was 1972. He was part of a team of four Tlingit men who had come together under the organization of Gilbert Lucero. At a time when the Native culture was just beginning to “sprout” back, Gilbert’s vision was to provide the young Native community of Juneau a holistic approach to help revive the Tlingit culture by way of evening classes for an entire month held at the Totem Center. Cy Peck, Sr. came in from Angoon to teach the Native ways of conducting various ceremonies, clan ownership of the sacred objects and the Tlingit language; A.P. Johnson came from Sitka and introduced us to the conflicts of Native law vs. Western laws; and Harry Bremner, Sr. from Yakutat taught us the songs and dances of the Mt. St. Elias people. (There was a fourth elder who was a part of the team and I can see his face so clearly but I cannot remember his name – he had a permanent smile on his face, not much taller than I, with a head of thick, white hair – he was the one who, upon seeing me for the first time, called out to Harry and exclaimed: “Harry, come quickly, come!…Take a look at this nose!”) – Harry came up to me and looked at my face and checked out my nose. (You can imagine how I was embarrassed!) Harry then said: “You!…I want you to be my song leader and drummer…!”). That’s how I officially met Harry K. Bremner, Sr., 40 years ago. Coming to know Harry during those next four years lead me down a path I have yet to stray.
Full view of Tunic #1 - sleevless with ties at the side
These are photographs of my very first Tlingit dance regalia. They are styled after Yakutat’s Mt. St. Elias dancers’ regalia. I had never sewn anything before. I followed Harry’s instructions; he was the designer and knew exactly what he wanted. One day Harry said we were going to the fabric store and making tunics…(for the five, young students who seemed most committed to the songs and dances.) Those students included Deena (Aceveda) LaRue, Doug Patterson, Victoria (Canul) Dunne, Catrina (Camposano) Mitchell, and myself. Harry was preparing us to perform with the Mt. St. Elias Dancers who were going to be touring Southeast Alaska (at a time when Native dance groups did not exist, much less touring dance groups, was unheard of). None of us had any dance regalia; as far as I know, these were our very first regalia pieces. We learned the songs of Yakutat and Mt. St. Elias. Over the years, whenever I see the dancers perform and hear the songs, I feel a sentiment and a peace; I am immediately brought back to a time when these things were new, we were innocent to what lay ahead, and all of what I learned then is still a part of me now, as Harry helped bring me back home to myself.
My first five hand-sewn tunics - yes, indeed there are 6 and I don't remember making that one, but I've included it with the rest of these tunics; it has my clan emblem on it, the T'akDeinTaan, sewn to the front. I didn't know how to do the formline art back then so I KNOW I didn't make that tunic!
A few years ago, during the 2007 Clan Conference, I was talking with Elaine Abraham (Ramos), who is a niece to Harry. She was telling me that Harry was talented at many things – being a tailor was one of those talents. He had learned while he was living in Seattle working at a tailor shop. My very first sewing lesson was a question Harry asked me: “How long do you make the thread for your needle when you are hand-sewing?” I shrugged my shoulders. He replied: “The proper length of your thread is the distance from the object being sewn and your arm outstretched…” He added “…if you have it any longer than that, it will be too long and your thread will always tangle…” I have sewn hundreds of garments, costumes and regalia since then, and I kid you not, every time I have threaded up a needle and measure the length, I have ALWAYS thought of Harry. 40 years, and most likely still going!
Brilliant blue felt tunic trimmed with white felt and a matching pair of cotton work gloves trimmed with yarn pompoms at the finger tips and outer sides of palm - with synthetic gold fringe - Harry used these kind of gloves when he danced; I don't think any of us had ever seen this type of dance regalia accessory before - nowadays, most of us are familiar to these pompommed gloves
Days before I graduated from high school, my mother asked me what I would like as a graduation gift. I replied: a sewing machine. She looked perplexed “Huh? You don’t sew…I’ve had a sewing machine for years and you’ve never used it…” I replied “Well, if I had my own, I would sew…” Graduation Day was on my 18th birthday. My Mamma loves me; I received a brand new Genie Singer sewing machine – I love that machine. I used to travel with my machine all the time! The machine is compact, light-weight and is able to fit under the seat on a jet! Like I mentioned earlier, I’ve sewn hundreds of items. I taught myself how to read patterns and make clothing. I made clothing for my children, family members and friends. I brought it to a Chilkat weaving workshop in Haines in 1985 and after class I sewed two dresses for my Chilkat weaving teacher, Jennie Thlunaut. (In fact, she is wearing a dress I made for her in some of the last photographs of her taken by photographer, Larry McNeil.) Although I have a sophisticated Bernina, and I have a classic 1935 Singer sewing machine in a cabinet, I still use my Genie on occasion. I’ve even bought this same model for each of my daughters. When my mother saw the results of her gift, and witnessed my involvement with the Native songs and dance, she sewed me a button robe with a beaded emblem of our clan crest, the T’akDeinTaan. Funny thing, I had no idea my mother could sew button robes!
Tunic #3 - trimmed with bias tape, cult felt fringe and single strands of beads and sequins at the bodice
Harry was from the Kwaashki’kwaan from the Owl House in Yakutat. He said the T’akDeinTaan branched from Yakutat area by way of a tributary called T’akDein of the Alsek River. He said because we were related, I could call him “Grandpa.” He was a gentleman and had a sophisticated dignity about his appearance. I am not saying vanity in a negative way; I speak of it with respect in reference to this man. He was in his early 80’s and was gently proud of his physique – he made me note his 42″ barrel chest slimming down to a 32″ waist with no potbelly whatsoever. He had a brisk, direct walk. His mind was alert. And there has not been a Native dancer of his age like him; whoa, could this man dance! When I visited him in Yakutat in 1975, I discovered he was still building a house, building a boat and still went fishing! (At the time, me being only just 16, I was unawares of how remarkable he was – but now looking back upon it, I realize this amazing elder was in great shape.) Harry was a hunter, fisherman and he played the mandolin. (Now that I think about it, this guy was my kind of man!)
Tunic #4 - this was the tunic I wore - red felt body with blue synthetic fringe, bias tape and single strands of beads and sequins
I had no idea until a few years ago my mother had kept these tunics in her closet all these years! She asked me if I wanted them; of course! I am thankful to my Mamma that she kept these; she knew the value in them. In the meantime, she watched me designing and making button robes after button robes. She probably knew that although I had “neglected” these tunics, as I was young and going out into the wide blue world, I may want them some day. Of course! They are like little treasures of historical documents with the young sweat of our DNA and they were an introduction to a way of life I had not even imagined. Because Harry and I worked on these tunics, they are part Harry and part me. Can you tell I have deep admiration, respect and love for this man? And I am thankful that my Mamma saved these tunics; I think my Mamma is proud of me. I am fortunate to have these pieces as they are the living proof of where I began as a maker of regalia; it is living proof of how specific people in one’s life can make all the difference of what we be and do.
Full view of Tunic #4 - this was one of two tunics I had sewn that had sleeves - it was the first time I had sewn sleeves on anything - I do not have a photo of the other tunic; it belongs to Catrina (Camposano) Mitchell
Harry told me many stories; his voice would change when he was telling me something of great importance, something he wanted me to take heed. As he was telling the following parable, I could “see” the entire imagery; and, maybe that is why I have remembered this “lesson” well…and maybe I’ve remembered this lesson because I applied it to my life…
“Say you are across the sea on another continent and you will be taking a long return voyage home. The voyage might take a week, it might take a month, but whatever the length of time, you take care of yourself so you can make the long journey. You will not be drinking the pop or the alcohol – you will not eat bad food; if you do, you know what happens, you will get seasick and puke over the side. Depending upon how much you abuse or neglect your self, you may not make the long journey back home…stay away from these things so you may make that long journey and return to your self and know who you are…”
Harry K. Bremner, Sr. and I - Yakutat airport - April 1975
Jun 11, 2011 | Honoring Others, To Market To Market |
Three robes grace the work space of Silver Cloud Art Center in Haines, Alaska run by Cherri and Wayne Price who hosted a Chilkat Weavers' Retreat in April 2009 - Darlene See (Hoonah, AK) quietly works on her Chilkat robe
How many of you know about Evergreen Longhouse? I do not remember how I found out about them, but two years ago, I received a couple of grants from them that helped support my travel to two projects that I spearheaded: 1). the Chilkat Weavers’ Presentation and Demonstration at the 2009 Clan Conference in Juneau in March, and directly following the demonstration was the Chilkat Weavers’ Retreat in April in Haines, Alaska; and 2). the purchase of warp yarns to begin my 6th robe, a combination robe of Chilkat and Ravenstail.
Chilkat Weavers' Retreat participants included (L to R): Clarissa Rizal, Darlene See, Bev Morris, Patrice DeAsis, Alice (obscured), Debra Michel, Isabelle, Lily Hudson and Ann Smith - the men in the background are Wayne Price (project host) and Brian Walker (Ann Smith's husband)
“The “House of Welcome” Longhouse Education and Cultural Center is a public service center at the Evergreen State College. Built in collaboration with Northwest tribes, it is the first building of its kind on a public campus in the United States. The Longhouse is a multi-purpose facility, able to serve a variety of educational, cultural and community functions. Founded upon a vision of hospitality and service, it is a gathering place for people of all cultural backgrounds to teach and learn with each other.
The Longhouse’s public service mission is to promote indigenous arts and cultures through education, cultural preservation, creative expression and economic development.”
Chilkat Weavers' Demonstration at the 2009 Clan Conference in the lobby of Centennial Hall in Juneau, Alaska
The Longhouse is mainly run by a team of three women, Tina Kuckkahn-Miller, the Executive Director; Laura Grabhorn, Assistant Director and Coordinator Bonnie Graft. I met Laura during our 2008 Northwest Coast Artist Gathering during Power Point Presentation of Artists and Arts Organizations (see sponsoring organization Artstream Cultural Resources). I am totally impressed with the staff of this organization and what this organization has done for the Native artist, and their communties. Over the past two years, I’ve encouraged many Native artists to visit the Evergreen Longhouse’s website and apply for the two types of Native Artist grants they have to offer. Click here to visit their website.
Weavers Kay Parker (Juneau), Lorene Hanlon (Seattle), and Debra Michel (Atlin, B.C.) during the Chilkat Weavers' Demonstration and Presentation at the 2009 Clan Conference, April, Juneau, Alaska
Jun 9, 2011 | Adventures of Rear-Mirror Rissy, Health and Wellness, Honoring Others, North Tide |
Harry K. Bremner, Sr. and Clarissa - Yakutat airport - April 1975
For the first time in 1975 upon an invite to see what Native elders called “the land of milk and honey”; I went to Yakutat to visit “Grandpa” Harry K. Bremner, Sr. (In an upcoming blog entry, I will write about the influence of Grandpa Harry in my life). Take note of the above photograph; the airport road is newly-paved and the trees are so much shorter than what they are today! — for those of you who are wondering where the heck is Yakutat, Alaska, look at a map of Alaska, find Anchorage, then locate Juneau and look about half way in between the two and you will find Yakutat on the coast, right up there with the big Malaspina Glacier. Pretty awesome! As most of you know, Alaska is Alyeska, the Great Land! And we Alaskans are proud of our country!
June 2011 – It’s been 36 years since I set foot in Yakutat. Upon an invite by my friend Jan the traveling accupuncturist, and a reminder from my friend Preston who was guest speaker at the 1st Annual Yakutat Tern Festival this past weekend and, since my children and grand-children all flew south to attend their other grandparent’s family reunion, and I’ve gone through some heavy-duty, non-stop, life-changing events over the past three years, (golly!) I decided it was high time to take some R&R and visit Yakutat again! Yet, as usual I had to do something to offset my travel costs, so with the support and assistance of Walter and MaryAnn Porter, I taught a class in spinning Chilkat warp. (For those interested in the cedar bark class, look for the blog entry recently posted “Spinning Chilkat In Yakutat).
The following photographs are the day trip to the biggest beach I’ve ever seen that runs North/South called Canon Beach:
As we approach Canon Beach, we pass over a waterway of lily pads
As we came across this bridge and saw this view of the pond, I remembered the swans we saw here in 1975 – it was the first time in my life I had ever seen swans. And since then, every time I see swans, I have thought of this place here in Yakutat.
36 years ago, we had lunch with Grandpa Harry in this spot - it was a good feeling to be here again!
I have a few more photos taken back in 1975 during my visit in Yakutat; I’m not sure where they are, but I’ll have to do some investigating! I want to include them sometime sooner than later.
Boogie Boarders skim the shore's wild surface of icy cold Yakutat waters - I tell ya, if I were 16 again, I'd be out there boarding - so much fun!
The very first time I had ever seen big waves like these were in Yakutat at this beach in ’75. Then a few years ago, I had heard that surfers came from around the world to surf this beach. We’ll yeah, man!
Although there were none today, surfers from around the world ride Yakutat waves
Sand Texture - I remember the beach sands being whiter, hmmm...I'm going to have to find those photos from 36 years ago and compare!
I swear - in Yakutat, there are more eagles riding the rip tides of the wind than there are seagulls!
Laying on the beach and admiring the textures of the sky while a lone comber goes to that place of meditation where water meets shore
Had to go find out what that thing was over there...(?)--Obviously something that didn't make it back afloat!
A rotting barge adds rustic color as tides ebb and flow
"Windows" of the sea
A lone pebble
When the tide goes out, there are thousands of small, polished pebbles on this beach. It was odd to find one all by its lonesome.
Like I did 36 years ago, I will be taking memories of the land and sea, yet this time, with little pebbles for little grand-daughter hands in Colorado
You are probably wondering where are the photos of the actual village of Yakutat? Well, when I post the blog entry about Harry K. Bremner, Sr., I will include a few shots of the village. Stay tuned.
May 3, 2011 | Health and Wellness, Honoring Others, Tlingit Culture Accentuated |
Baskets waiting to be filled with treasures from the Easter egg hunt...
SikiKwaan with a filled basket in front of the St. Nicholas Russian Orthodox Church
I’ve taken our church for granted; that’s a normal thing they say cuz I grew up with this church and we all take things for granted that are a part of our everyday experience. Even so, that’s no excuse.
I had not ever really appreciated the full beauty of our Russian Orthodox Church (http://stnicholasjuneau.org) in Juneau until a friend, who was brought up in the Catholic Church across the street, had attended my brother’s memorial service a few weeks ago, commented on the beauty of the ceremony. “So I got to thinking about it…” (A statement that our elders would say when they contemplated…) The following are some of my thoughts on the subject of our unique beauty of our church:
Inside the church - view left
What church in Juneau is over 100 years old, and was built at the request of the Tlingit people in this area who helped actually design and build their church? What other church in Juneau has this kind of history combined with the elegance of the original paintings on canvas of those over 100 years old along side recent modern ones? Who else in town has a round church? Who else still burns untainted incense and burns hand-dipped beeswax candles during every service? Who else wears the traditional embroidered garments and robes during every service and wear crowns during significant ceremonies? Who else decorates their alter with satin cloths and real flowers? Who else serves actual wine and fresh-baked unleavened bread for communion? Who else has the congregation stand during the entire service of 2 hours? (Actually, there are chairs for those who need to sit.) What other church in Juneau has respected the Tlingit traditions for over 100 years and continues to integrate some of those traditions with the Russian Orthodox ways of doing things? AND who else sings traditional chants in 3 languages of Slavonic, Tlingit and English!?
Holy! After I got to thinking about all these things, I realized we’ve got one heck of a church that stands out amongst all of them in this community!
Inside the church - view right, where the choir stands
You would think that this being a unique church just in its visual richness and cross-cultural integrations, there would be more folks attending. Yet, not. As the elderly Native folks who were baptized many years ago pass away, and technology has shaped us over the years to have an attention span that requires more “entertainment” as long as it is short-lived, most folks do not have the patience to stand for almost 2 hours during a ceremony. If so, we have been conditioned into being “rewarded” with something if we are going to “suffer” through 2 hours of standing! Holy!
SikiKwaan finds another treasure!
Tichnon has filled his basket he handmade himself!
Directly after the Easter Sunday services, the church shared a potluck meal with traditional foods of Russia and Alaska Native - we've got the best of both worlds for more than one hundred years! -- Father Simeon cuts the roast lamb
Our traditionally-favorite Easter bread "kulich" - this loaf was made by Nora Dauenhauer - she has one of the best recipes!
Come visit our church; open your mind to another experience unique to this area. Stand for yourself and with all those around you. Show yourself that you have the discipline to stand and can pay attention and be alert to the life and love around us. It is true not all in life is rosy; not all is comfortable. However, when we stand up for ourselves, we gain an inner and outer strength; if you need a “reward”, let this be enough reason. Here’s an open invitation to come stand with us and share an inner and outer elegance.
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!
Apr 26, 2011 | Acting Out and Musical Chairs, Honoring Others |
Violin Virtuoso Gilles Apap
“Hailed as a true violinist of the 21st Century by Yehudi Menuhin, Gilles Apap is a classical violinist who is in great demand as a soloist with orchestras around the world. Among many are the Leipzig Gewandhaus Orchestra, Israel Philharmonic, Boston Philharmonic and San Francisco Symphony. He has also become widely known for his extraordinary ability to integrate a variety of musical genres. Gilles not only crosses boundaries, he unites music with his distinct talent for incorporating styles of music as diverse as American oldtime, Irish, and Gypsy fiddling, with the standards of the classical repertoire.
Born in Algeria, Gilles Apap was raised in Nice, France, where his violin studies commenced with Andre Robert. He continued his education at the Conservatoire de Musique de Nice with Gustave Gaglio, and then at the Conservatoire National Superieur de Lyon with Veda Reynolds. He traveled to the United States to attend the Curtis Institute of Music, and chose in 1986 to live in California, where he still resides. He was later appointed Concertmaster of the Santa Barbara Symphony Orchestra and served in that position for over a decade.” (to read more on Gilles, please visit Gilles’ website at: www.gillesapap.com)
So what’s guy like this doing in a little ho-dunk capital city of the most beautiful state in the Nation?
Well, it started out when local musician Lis Saya met Gilles back in the early 90’s…and that was that! With the hard organization work of Lis to benefit the Alaska Folk Festival, he has performed here in Juneau several times. Finally, due to my return to Juneau and my schedule working out, I got to see Gilles perform last Friday the 22nd at the Northern Lights Church; what a treat, that guy is pretty dang goooooood!
Opening (comedy) act and M.C., Collette Costa
I don’t know much about Collette except that she (next to my sister, Dee), can make people laugh. I have no idea if she gets up on stage with an idea of what she is about to say or she just shoots from the hip with spontaneous combustion of the practical sorts – (I’ll never look at another Bible the same way again!) Collette was the opening act M.C. for Gilles – I know you might ask the question of “how does her comedy act coincide with a violin virtuoso?”… – it doesn’t! And that’s just the fun of it! In my opinion, her act was perfect because it’s just what Gilles would want in the first place anyway for his opening act cuz he’s IS that: fun!
A "normal" image of Gilles
Gille Apap Trio (L to R: Gilles Apap, Chris Judge & Brendon Statom
Guitarist Chris Judge
A wonderfully, lively, uplifting concert! - Next time they come to town (next Spring?), you must attend!
Note: You may ask yourself: why does Clarissa post things like concerts, plays, funerals, other artists’ presentations, art shows, etc. on her blog when they seem to have no direct correlation to the work she is doing as an artist? Hmm….that’s what most people may think. However, the things I post on my blog DO HAVE A DIRECT CORRELATION TO MY LIFE AS AN ARTIST! How? These things affect my spirit, and can have direct affect on my life, which of course, can inspire me, depress me, anger me, or make me feel great love, and in turn, affects the work that I create and produce!
