Embelishing With Buttons on a Roadtrip to Alaska

Embellishing a belt with antique mother-of-pearl buttons using a box as my "third hand"

During my drive from Southwest Colorado to Prince Rupert, British Columbia to catch the ferry home to Juneau, Alaska, I spent my days making belts while Dan drove.  I was making these belts to sell during the Native art market hosted by Sealaska Heritage Institute at “Celebration 2012” in Juneau.

This "third hand" support was so convenient on this long road trip; it also held my glue, floss, pin cushion, scissors, leather needles, etc., and it held the next set of belts I was sewing! This cardboard box is a real keeper!

Flathead Lake, Montana

We drove through beautiful country; some I missed because I was either sleeping OR I had my head in the box sewing away!

Was I really sewing belts on a windy day on the side of the road near a glacier in Banff National Monument or was I just posing for this photo for my blog?

In Banff/Jasper National Monument

If you want to experience dramatic scenery in Banff/Jasper National Monument, go in May when the roads are generally clear, the sun is fairly warm and the snow is still on the mountains OR go in the Falltime when the colors are spectacular along with newfallen snow – check your weather report before embarking on one of the most beautiful drives in North America!  I’ve done this drive twice in the past two years; awesome!

You really SHOULD BE HERE!

Completed “Argillite Totem”

A close up of my "Argillite Totem"Although messy, charcoal is fun to work with.   I enjoy the instant contrast from dark to light depending on pressure and the number of strokes in a given place.

You may visit the previous blog ent

Adding more charcoal to obtain higher contrast

I used a workable fixative; next time I’ll use a non-workable fixative for the final coat!

Clarissa sprays fixative on her "Argillite Totem" stapled to the studio wall outdoors

I started this charcoal back in March; you may visit the blog entry that posted the beginning of this charcoal at by clicking here.

The finished piece waits on a table for the body of the wood frame column

I waited for the frame to be built before I sprayed and applied the canvas to the column frame.

the completed piece photographed with a mirror behind it

“Argillite Totem” with a mirror behind it to see a glimpse of the other side of this totemic column.  –  This won 2nd Place in the Contemporary arts category of the Sealaska Heritage Institute’s Juried Art Show 2012.

See a video of the awards ceremony:

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Completing the Eagle Raven Lovebirds

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

 

Tlingit Painted Pony

On her front porch, Clarissa sands a smooth finish to prepare for first coats of acrylic paint

I came across these old photos of a fiberglass horse that was a part of the “Trail of Painted Ponies” exhibit back in the Summer of 2003 (or was it 2004?) held in Santa Fe, New Mexico.  There was a coffee table publication of all 50 horses supposedly representing the 50 states.  I had the honor of representing Alaska.

After several coats of solid golden paint, Clarissa paints the Tlingit formline of a dragon on the chest of the horse

Face of the Tlingit Robed Horse

Portrait at night out back before thunder showers

Clarissa with Robed Horse

Along with all the other 49 horses, this one was auctioned off; the owners live in Texas.  I do not know how much it sold for; all the proceeds went towards the Horse Project.

Old Timer’s Basketball Poster From the Early 80’s

Hand-silkscreened limited edition of the Old Timer's Basketball Tournament poster, Juneau, Alaska - 1983?

Holy Moly!  I just found a couple of copies of this original, hand-silkscreened poster I designed back in the early 80’s – 1981, ’82 or ’83.   The image depicts a Raven and and Eagle each grasping a basketball with their claws with a basketball hoop between their heads

I am willing to let go of these last two originals – they are in excellent shape; they are hand-printed on red cedar-like paper and cut in a diameter of 20 inches; this limited edition is signed and numbered –  for $495.00 each

As I mentioned, I only have two available; if you want one, then better contact me real quick!

If these don’t sell beforehand, I will have them available for sale at the Sealaska Art Market during Celebration 2012, Thursday through Saturday, June 7, 8 and 9,  in Juneau, Alaska – come take a look at other prints and paintings I’ll have available!

“Chilkat Devil’s Club”

Adding the Devil's Club leaves to the black & white Chilkat robe design - acrylic painting on canvas measures approximately 24" h x 38" w - Clarissa Rizal; March 2012

I was commissioned by the NNAAPC (National Native American AIDS Prevention Center) in Denver, Colorado to create an image for this year’s convention.  Of course the theme is based on the awareness and attendance to health, healing and prevention.  They asked for a traditional image that would reflect their theme.  I couldn’t think of anything better than of course, Chilkat!

Added the traditional colors of yellow and blue along with the green leaves of the Devil's Club

If you’ve studied the older Chilkat robes of the past 200 years, you will notice there are robes that have similar designs, where there are slight changes between each robe, yet distinctly they are related –  like a variation on a particular theme.   I am doing this with my “Chilkat robe within a robe” series.  Although I have designed a couple of robes with this same theme for a couple of my students, my very first one that I designed and wove was called “Jennie Weaves An Apprentice” (which I finally finished weaving last August 20122), which is what this painting is based and of course I changed some of the design elements (i.e. smile faces as opposed to grims, etc.), yet the design description (described below) is very different than that of “Jennie…”

Almost completed - just need to add the Devil's Club berries, give the painting a more "painterly" effect, and a coat of matte medium

Native Americans used Devil’s Club both as food and medicine. The plant was traditionally used by Native Americans to treat adult-onset diabetes and a variety of tumors. Devil’s Club is employed as a blood tonic, used in salves for skin ailments, rheumetoid arthritis, cuts and bruises.  For spiritual protective purposes, the stalks were shaved of their thorns and placed above doorways, made into beads and worn on the person, and shaved stalk were placed in bowls and placed around the house.  Sometimes, Devil’s Club was dried and burned like an incense during certain spiritual ceremonies.  In vitro studies showed that extracts of Devil’s Club inhibit tuberculosis microbes.  Because Devil’s club is related to American Ginseng some think that the plant is an adaptogen. The plant has been harvested for this purpose and marketed widely as “Alaskan ginseng”, which may damage populations of Devil’s Club and its habitat, which is why many Alaska Native peoples are very protective of our Devil’s Club population; we do not want the plant to disappear because of capitalist exploitation.  We consider this plant very precious.

The plant is covered with brittle yellow spines that break off easily if the plants are handled or disturbed, and the entire plant has been described as having a “primordial” appearance. Devil’s Club is very sensitive to human impact and does not reproduce quickly. The plants are slow growing and take many years to reach seed bearing maturity, and predominately exist in dense, moist, old growth conifer forests in the Pacific Northwest, which is why we will harvest only what is needed.  There are times we will harvest the entire stalk if the need calls for this, otherwise, we will take a small cutting at the lower backside (the part that does not face the beach or face of the forest).  We never harvest the entire plant.  To ensure the continuance of the Devil’s Club, we dig a small hole nearby the area we have harvested and we place an “offering” of tobacco, cedar or sage – we are “giving back” and paying our respects.   Many Native American people consider ourselves “stewards of the land and sea.”

Devil’s Club generally grows to 3.5 to 5 feet tall; however, instances exist of it reaching in excess of 16 feet in rainforest gullies.  I have literally walked under “forests” of Devil’s Club.  The spines are found along the upper and lower surfaces of veins of its leaves as well as the stems. The leaves are spirally arranged on the stems, simple, palmately lobed with 5-13 lobes, 8 to 16 inches across. The flowers are produced in dense umbels 4 to 8 inches in diameter, each flower small, with five greenish-white petals. The highly poisonous fruit is a small red drupe 0.16 to 0.28 inches in diameter elongate in clusters.

Devil’s club reproduces by forming colonal colonies through a layering process. What can appear to be several different plants may actually have all been one plant originally, with the clones detaching themselves after becoming established by laying down roots.

This species usually grows in moist, dense forest habitats, and is most abundant in old growth conifer forests. It is found from Southcentral Alaska down throughout Southeastern Alaska to western Oregon and eastward to western Alberta and Montana.  Disjunct native populations also occur over 900 miles away in Lake Superior on Isle Royale and Passage Island, Michigan and Porphyry Island and Slate Island, Ontario.  I personally have seen Devil’s Club here and there in the higher elevations in marshy areas of the San Juan Mountains surrounding Pagosa Springs, Colorado.  The plants are not as large as those in Alaska, but then again, Alaska grows things big.

The completed "Chilkat Devil's Club" painting on canvas for NNAAPC by Clarissa Rizal - March 2012

Design Description of the painting entitled “Chilkat Devil’s Club”

The stylized Chilkat ceremonial robe design depicts a smaller Chilkat robe within a larger Chilkat robe which is part of a series of Chilkat robes portraying “a robe within a robe” image.  This particular theme is one that tells the story of the transference of indigenous knowledge healing methods from one person to another, or from one tribe to another, from one community to another, of from one culture to another; this is shown by way of the main human face (the Creator) who has gifted us the Devil’s Club and is flanked by the human faces on the top and left corner of the main robe who are holding the smaller robe (center lower half outlined in the yellow/black border) showing the recipient (smaller human face) of the healing knowledge and simultaneously the recipient of the healing modality.  In this case, although the Devil’s Club signifies the ancient healing methodology of the indigenous peoples mainly of the Northwest Coast across the Northern part of the U.S. and southern Canada to Ontario, because of small cottage industries in Alaska and Canada who are creating healing salves, teas and tinctures, the healing properties of Devil’s Club is available to anyone in the world.

An “Argillite” Charcoal

The beginnings of Clarissa's "argillite" done in charcoal

Well,…not only am I finally getting around to posting new posts on my blog, I am finally getting around to doing more work in charcoal – in this case, a charcoal done on raw canvas.  I call it my “argillite carving.”  (What is argillite?  It is a black stone from the British Columbia area suitable for carving.)  When completed, this piece will be approximately 30 inches wide x 6 feet tall.  I’ll post the finished product when I complete it – stay tuned!

Journey of a Chilkat Robe and Its Maker

“Jennie Weaves An Apprentice” Chilkat robe was on my weaving loom for 5 years.   I’ve never had a robe take so long in the weaving, however, I’ve never had the kind of journey I’ve experienced in the past 5 years either!  The following is a pictoral journey of the life of this robe reflecting the journey of its maker.

Apprentice Bev Morris from Teslin, Yukon Territory and Clarissa begin weaving their Chilkat robes - Pagosa Springs, Colorado - September 2006

Directly after my apprenticeship in Chilkat weaving with 95-year-old Jennie Thlunaut from Klukwan, Alaska, I began designing a Chilkat robe in honor of the gift she had entrusted me with  and the 6 weeks we had together in 1986.  I had silk-screened a limited edition of the design, painted a “fake” robe for a collector, and the design was also the cover and name of my Chilkat Weaver’s handbook that I printed myself; yet it wasn’t until 20 years later after my apprenticeship with Jennie I had begun weaving the robe in September 2006 upon the arrival of an apprentice from Teslin, Yukon Territory, Bev Morris.  I demonstrated Chilkat weaving techniques on my robe while Bev learned on hers.

Chilkat robe at the Auke Bay condo - September 2010

Chilkat robe in my new room at my mother and father's house - November 2010

Chilkat weaving demonstration during Gallery Walk at the Juneau Arts Center - musician/singer/songwriter Archie Cavanaugh and his grandson stopped by for a visit

Chilkat weaving demonstration during the "Time Warp" exhibit of Northwest Coast weavers at the Bill Reid Gallery in Vancouver, B.C. - March 2011

While visiting my daughter and granddaughter in Pagosa Springs, Colorado - April 2011

Many braids and weavers to keep track - common folk wonder about Chilkat weaver's sanity

 

Rented another apartment for the Summer 2011 - the turquoise couch, the black loveseat and the Chilkat rug (woven in Tibet) were all color-coordinated beautifully - June 2011

Patrice DeAsis and Lily Hope were two of my assistants who helped me complete this robe by its designated delivery date! - June 2011

Close-up of Teacher "Jennie Thlunaut" (in green mask) and "Clarissa" in blue mask

Demonstrating Chilkat weaving at the Teslin Cultural Center's boat building - July 2011

Inside the Teslin Cultural Center's boat building - Chilkat robe is off to the far right - July 2011

Weaving in a perfect room while overnighting at the Skagway Inn - granddaughter Bette Hope enjoys the view! - July 2011

While on return ferry from Skagway to Juneau, Lily Hope and Clarissa weave in the cafeteria - July 31, 2011

In the stateroom on the MV Columbia sail from Juneau to Bellingham - August 2,2011

With fellow Chilkat weaver Nishga'a elder, Louise Dangeli, in th stateroom on board the MV Columbia sail from Juneau to Bellingham - August 4, 2011

 

Nite weave In Colorado studio - August 11, 2011

Almost complete Chilkat robe on display in Clarissa's booth at the 2011 Santa Fe Indian Market - far right is Ravenstail woven ensemble of "Copper Child" woven by Lily Hope and Clarissa - August 20, 2011

Fellow Chilkat weaver Suzi Williams and Clarissa needle up the ends in the back of Chilkat robe - Sunday morning, August 21, 2011

 

Although neither Crystal Worl (wearing cedar bark hat) and Beckie Etukeok have never woven Chilkat, they help put up the ends in the back of this Chilkat robe - Afternoon of Sunday, August 21, 2011

 

"Jennie Weaves An Apprentice" Chilkat robe designed and woven by Clarissa Rizal with help from several of her weaving students - August 22, 2011

 

Our Class Videos on U-tube

nDigiDreams videography class - Institute of American Indian Arts - Santa Fe, NM September 2011

Spearheaded by Jennifer Coots, Business Program Professor, the Institute of American Indian Arts Indigenous Studies Department sponsored a class, for those of us interested in being introduced to creating 5-minute videos.  Each of us told a personal story related to our cross-cultural upbringing and experiences leading to how we were led to attend The Institute of American Indian Arts in Santa Fe.

Our teachers were Carmen and Brenda from nDigiDreams.  nDigiDreams conducts community-based digital storytelling training workshops. “We believe our diverse cultures, identities, histories and stories hold enormous strength and beauty and we seek to train and empower indigenous individuals and communities with new media tools to realize optimal health and wellness.”  Carmen and Brenda have conducted workshops in Indian Country; think about hosting a workshop in your community.  You may check out their website (and view other storytelling videos) at:  http://www.ndigidreams.com/

Brenda Manuelito, Jennifer Coots (IAIA Business Professor) and Carmen Rodriquez

You may view my very first video entitled “Generations of Love Made Visible” along with some of the students’ videos on U-tube.  Cut and past this link onto your browser:   http://www.youtube.com/playlist?list=PLBF1FA84C49C930F7

Thank you very much for visiting!