May 14, 2011 | Latest Art Projects, To Market To Market |
the painting and collage-making studio- prepared for production
After nearly 9 months of blogging, I’m taking a break for awhile. It’s a lot of time to post 2 or 3 topics per week. I will not make that kind of time until a few things pass, including: wedding preps to attend to, family matters of life and death, a Chilkat robe to complete, and create stock for two upcoming markets (one in Seattle, the other in Santa Fe); and not to mention other odd jobs I have to do in order to pay for immediate bills and art supplies. So something had to give, something had to be eliminated in order for me to complete these things…so blogging was it.
I’m still capturing photos of various events. I’ll post them when I can. Thank you for visiting.
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 27, 2011 | Latest Art Projects, Showing Off |
Mendenhall River Walk - December 2010 - Nikon Coolpix - no Photoshop; added black border - (I like this image very much; I use this image as my screensaver)
After taking my first (digital) photography class where we learned how to play with the variety of tools Photoshop has to offer, I prefer not to tamper with my photographs. I think Photoshop is a really cool tool and I enjoyed learning what I gained in this class, yet I guess I am from the “old school”; what I see is what I get. So the following 10 photo images submitted for my Finals project of this portfolio, unless otherwise noted, have been tampered with as little as possible (noted at the bottom of each of the ten images). Nature images begin the sequence ending in images of significant human beings. Thanks for visiting!
An oil on canvas painting propped on a lawn against a tree in Stanley Park, Vancouver, B.C. - January 2011 - Lumix Panasonic DMC-LX5 - cropped out skyscrapers in the background, small adjustments in hue & saturation, narrow black border
Who’s Rissy Rizal? That’s my “aka” photographer’s name.
Chilkat Range shot from Eagle River Beach during sunset - September 2010 - Nikon Coolpix - small adjustment in hue & saturation, no crop, black border
Chilkat Sunset from Boys Scout Camp, Eagle River Beach - August 2010 - Nikon Coolpix - light hue & saturation, no crop, black border
New Mexican cattails - April 2011 - Nikon Coolpix - Photoshopped "painting on canvas", no crop - black border
Tim's 53rd B-day - February 2011 - Lumix Panasonic DMC-LX5 - cropped top & bottom, adjusted levels, black border
Easter Buddies Bette & Violet - April 2011 - Nikon Coolpix - Photoshopped using "sketch" technique, sepia tone, no crop, black border
Violet Is A Doll - January 2011 - Lumix Panasonic DMC-LX5 - cropped, tampered with Photoshop's brightness/contrast, blur tool to create softness, black border
Portrait of Amelie - January 2011 - Lumix Panasonic DMC-LX5 - cropped, Photoshopped slightly with hue & saturation, black border
Bette Bird - February 2011 - Lumix Panasonic DMX-LX5 - slight crop, slight contrast/brightness, black border
This online class was offered by the University of Alaska Southeast in Juneau “UAS Art 222: Digital Camera Photography” taught by Photographer and Professor Timothy Schroeder, San Juan College, Farmington, N.M.
Apr 13, 2011 | Adventures of Rear-Mirror Rissy, Latest Art Projects, North Tide, Showing Off |
"Icebergs"
Lis and I have been friends for about as long as our eldest sons’ age (who are also friends): 35 years. Wow, 35 years seems like a long time, but it really isn’t. So what does Lis have to do with the Folk Festival poster? Lis lead me into designing the 37th Annual Alaska Folk Festival poster.
Last Fall, Lis and I were thinking about the Alaska Folk Festival’s request for their annual folk festival which always happens in the early Spring. 2011 would be the 37th year. Being recently divorced, with a large divorce debt, she encouraged me to make a few dollars creating this year’s Folk Festival poster. We threw around a few ideas. Lis insisted on having something that reflected the unique environment of Alaska – like glaciers, bald eagles, spectacular mountains, big rivers, etc. She mentioned icebergs that have musical instruments sticking out of them…and as soon as she said that, I exclaimed “hey, what about icebergs that ARE the musical instruments!? That’s IT!” For a moment, we stared at one another, then laughed…I give her the credit.
The 37th Annual Alaska Folks Festival poster design by Clarissa Rizal - April 2011
In the 1980s to early 1990’s, my ex-husband and I used to hand-silkscreen the Folk Festival posters, a limited edition of 200. He was the designer, I was the assistant printer and would occasionally consult with him on the designs. The last poster he designed was for the 25th Folk Festival (12 years ago), a design influenced by the Russian-orthodox icons, a Raven playing a balalaika – the painting was done in gold leaf. You can check out all his old posters on the Alaska Folk Festival website.
Clarissa painting the folk festival poster
The acrylic painting was painted on 300-lb. watercolor paper. I do not consider myself a painter of this kind. Yet, I’ll try my hand at whatever, even if I think I will fail. My daughter Ursala, pointed out that my design perspective was off and I had to tweak it a bit (you can see that in the rough draft below). Painting the musical instruments to look like musical instruments was a challenge; painting a glacier was even MORE of a challenge. This glacier turned out okay, but it just was not up to my sense of par. I think I’ll stay away from painting glaciers…
The rough outline of the sketch presented to the AFF board members to see if they would be interested in seeing the finished product
Opening night of the festival was this past Monday, April 10th; the festival is free and runs the entire week through Sunday, April 17th. There are the usual items on sale sporting the design; all except the mugs and hats. They could not figure out what aspect of the poster to place on these two items so they drafted up nice-looking wording with an image of fireweed. It looks good. The stock of T-shirts, sweatshirts, and even babies’ “one-zies” are going fast. Do not wait until the weekend to buy this year’s souvenir; get down to Centennial Hall as their stock is limited.
If you are like me who likes to dance, their are all kinds of dance bands playing Thursday, Friday and Saturday night’s dances at the Old Armory’s Juneau Arts and Culture Center. Check out the folk festival’s website for the program guide. If you are from out of town, and you want to tune into the music, there is a link from the Alaska Folk Festival website to the local radio station KTOO, otherwise, we’ll see you at the festival!
Apr 13, 2011 | Adventures of Rear-Mirror Rissy, Honoring Others, Latest Art Projects, Showing Off, To Market To Market |
Jennifer Coots Marketing Class - Spring 2011 - Institute of American Indian Arts, Santa Fe, New Mexico
On Wednesday, March 30th, I was invited to present my business’ marketing plan for the Marketing Class taught by Jennifer Coots. I created this marketing plan last year Spring 2010. This marketing plan has helped change the way I have run my business. I also attribute my acquisition of a First Peoples Fund grant to having learned so much about running a business through these classes I had taken at IAIA.
During the Fall and Spring 2010 semesters at the Institute of American Indian Arts in Santa Fe, I completed a 5-course business certificate. I have been a self-employed artist working in a variety of artistic mediums since 1977 and I had not any formal training in the area of running a business. I shot from the hip, attended the school of hard knocks and didn’t ever question why I hadn’t ever taking any classes and lessons…until I took these classes! What a difference!
It was so much fun doing this presentation for this Marketing class. Jennifer distributed a copy of my Marketing Plan to the students; that was pretty cool. Little would I know that a plan I created last year would be an example for other artists in this very same class. I just loved sharing my intentions, my experiences and my success. It’s been a year since I laid out this plan. I have accomplished every marketing method I had outlined in my Marketing Plan last year. (Golly, you’d think I was proud of myself!–Of course I am! Who wouldn’t be!?) When the students asked what my most valuable marketing method has worked for me; I answered: (surprisingly enough) my blog! — And I told them why…
You may be only five courses away from creating a successful business of your own. The Institute of American Indian Art’s College of Contemporary Native Arts is offering a Business and Entrepreneurship Program, to art students and small business owners seeking to develop their business skills and discover their inner entrepreneur. Courses cover issues relevant to artists and Native-owned businesses, but non-Native students and non-art related business owners will also benefit from the business and entrepreneurship certification earned through this program.
Jennifer Coots in her office at the Institute of American Indian Arts
Jennifer Coots brought this program to IAIA; I wish I had been educated way back when I first began supporting my family via my art. I encourage every artist who is serious about making a living doing what they love to do, to do themselves a favor and sign up for these classes IAIA has to offer. The unique thing about these classes is we learn differences in values in Western vs. Native American ways of going about our lives and business, as there are some real conflicting issues that may or can, inhibit us from moving forward with our work.
Learn more about the Business & Entrepreneurship Program: visit IAIA’s website or contact Jennifer Coots at jcoots@iaia.edu or 505-424-2356
By the way, Jennifer Coots lived in Juneau, Alaska pretty near 20 years. She was a fisherwoman and aspired to becoming a musician/singer/songwriter. She got side-tracked when she moved to the Navajo reservation to take care of her mother who was diagnosed with cancer. While living on the reservation, Jenn saw the level of poverty and she wanted to do something about it. She had the idea that the local artists needed to learn business sense, so she set out on a mission to finish her degree in Business and assist her fellow Native American artists to bring up their level of existence, workmanship and craft.
Jennifer Coots’ vision is totally awesome. I would take up her classes again if I wasn’t on to learning more about the art of business while doing the business of art!
Mar 8, 2011 | Honoring Others, Latest Art Projects, Tlingit Culture Accentuated |
Archie Cavanaugh with grandson, Joseph, and Clarissa who is proudly displaying Archie's latest two CD's "Love Birds" and "Alaska Jazz"
Tlingit Singer/Songwriter/Jazz musician, Archie Cavanaugh launched his latest CD titled “Alaska Jazz.” The past two days, I’ve been Chilkat weaving to “Alaska Jazz” along with Archie’s second CD “Love Birds”. The wonderful, upbeat, jazzy, loving energy of these two albums are the perfect sounds for me to Chilkat weave; I kid you not! I can go long stretches of time weaving happily away to cuts like “Sparklin Eyes”, “Amy” and “Love’s The Way” just to name a few. I mean like, I had to move my Van Morrison over for the past few days. I just want to hear Archie. The problem is that Archie has only three albums, and so the repetition is starting to get to me. What to do about it? Encourage Archie, help Archie, assist Archie, in any way, shape or form, to put together another album! In fact, go to his website and buy all three of his albums. This guy has got to catch up to the numbers of albums Van Morrison has put out, that’s all there is to it!
Check out Archie’s album cuts on his website at: www.archiecavanaugh.com
Feb 27, 2011 | Class Act, Latest Art Projects, To See or Not to See |
Brother Rick lights candles for Tim's 53rd birthday - the composition of this photo fell into the "3rds" category
A point-and-shoot kind of gal, I’m stepping into a whole nuther ball of wax taking this online course through the University of Alaska Southeast, and I tell ya, it is so much fun. Sure I have to learn to read my new camera manual, sure I have to read instructions on how-to techniques that I never learned before in Photoshop, sure I’m frustrated with all the gizmos, icons and settings that I gotta figure out in this digital world; these are things that I have resisted doing most of my life. I don’t want to read manuals and instructions; I just want to get out there and shoot. Who’s got time to mess around with instructions!? Gee, believe it or not, I do. I want to learn; i want to expand my horizons, and have fun!
Two Brothers and Mom; this composition also falls into the "3rds" category - this was a powerfully emotional moment for all of us
What is this composition called “3rds?” In my simple definition, it is a composition where the imagery is divided in thirds, which could include diagonal, vertical, horizontal, or curved “lines.” In our on-line class, we can only submit one image per assignment. It is sometimes difficult which one to submit. So I am posting some of the images I chose for the assignment but did not submit along with the one I did submit.
South Franklin Street, Juneau, Alaska - last night - another 3rds composition
"Jennie Weaves An Apprentice" Chilkat robe that I am presently weaving. This was the "3rds" composition that I submitted for my class assignment.
I have rarely seen photo images of Chilkat robes and weavings captured with this type of composition; this is why I submitted this for my “3rds” assignment. I realized that most photo images of Chilkat weavings are straight on shots of the entire robe or close-ups. From now on, I will begin including these kinds of compositions when taking photos of my work. It just makes things more interesting for the viewer, as well as more challenging for the photographer!
On a walk out Auke Bay Recreation area, we saw this pair of underwear, soaked and just hanging out - this was an image that I almost submitted for the "doesn't belong" class assignment
Eagle River Beach skies are always spectacular no matter what time of day, month or year - these hearts (one that is obvious and the other forming) were directly above us - this composition fit under the "doesn't belong" class assignment too. Like how often do you see hearts in the sky, huh? I didn't submit this one because I didn't want my classmates to naturally assume that I Photoshoped that heart in the sky - I swear to God, I did not. And I have a witness that i didn't because there were two of us sitting directly underneath!
A banana washed ashore on Auke Bay beach! This is the image I submitted to my online class for the "doesn't belong" assignment. Why? Because it was dang obvious that this banana just did not belong. If the beach were white, hot sands, the sun were blazing and there were coconut trees with lots of tropical foliage, then I could understand. But, when I saw this banana on the beach, I thought, man what is a nice, ripe banana doing in a place like this!?
The next few images are compositions that I submitted for the various assignments in our online photography class where I did not have other images that I shot for these categories.
This composition fell under the class assignment category "RUBI - a photo that is Relevant, Unusual, Beautiful & Important" - Really? This Photo? Why?
Grand-daughter Violet is a doll; just look at that expression as she checks out the one that is most relevant and considered beautiful (by American standards), while the “foreigners” watch in anticipation and shock saying to themselves “She could have chosen any of us as her baby doll…but how is it she chose THAT one when the girl is only three years old!?” Of course this is my RUBI choice, check it out: A Barbie doll is something we can all RELATE to, my Violet is BEAUTIFUL, the company is UNUSUAL, and it is very IMPORTANT to scrutinize the quality of each doll if you’re paying big money!
The underground train in either Vancouver, B.C. or Seattle - I forget which one; this image I submitted for the class assignment entitled "best represents my concept of photography." I generally use photography for documenting my art progress and work, events, travels, people, places and things - I consider myself a "drive-by-shooter." This image represents my "quick-on-the-draw" method while documenting my travel.
The sound and anticipated taste of fresh, untainted wild water! Nothing like it. We are fortunate to be one of the few places on earth with pure wild water. Nugget Falls, Mendenhall Glacier, Juneau - This photo fell under the assignment of "a photo that appeals to a sense other than sight (touch, hearing, taste or smell)...
My imagination got away with me when I turned around and saw an extended arm reaching out of the fireplace! - This image I chose for the assignment of "disturbing."
Clothespin photo by my son, Kahlil Hudson. The class assignment was to find a photograph (taken by someone else) that was one of the most powerful and riveting images I'd ever seen and explain why the picture was so meaningful.
She never lined her drawers with scented liner sheets, incense or sachets of fragrant dried flowers. Mom loved the smell of fresh air in her clothing. A clothesline in winter didn’t stop her from hanging out the laundry; by golly, they were freeze-dried if it took capturing that fresh, natural scent! How many of us make the time to hang our laundry outside on even the sunny days to capture the wind, sun and predicted rain? When Mom first came to Colorado for a visit the first time years ago in 1993, I had discovered how she was always eager to do the laundry and hang it out to dry (probably because it was always sunny in the town we lived). I didn’t know this about my mother because we didn’t have a clothesline when we were growing up (because we didn’t have any land to make a clothesline post). When I first laid eyes on this photograph, I cried. It brought up the firm reality that I will never see my mother hang my (or her) laundry again, as I no longer live in Colorado and she has become too fragile to reach for a clothesline. This image also reminds me of a time not so long ago in our own home town of Juneau where we weren’t constantly rushing about and actually took time to “smell the roses…” When’s the last time you saw clothing swinging in the breeze?
Feb 13, 2011 | Honoring Others, Latest Art Projects, Tlingit Culture Accentuated |
Patrick Gilbert Mills
It is one of those unexpected passings; our cousin Pat Mills passed away a couple of weeks ago. I’ve been thinking of his free spirit, a kind of happiness that I call “happy boy” that showed up especially in his Native dancing or while fishing on the Mary Joanne. I got to thinking about the vessel with a lifetime of history quietly incubating at the dock in Hoonah. I remembered the first and last time I was on the boat: August 1979 on the West side of Glacier Bay called Dundas Bay. My Aunt Katherine Mills, Aunt Sue Belarde, mother Irene Lampe and all the cousins went aboard three vessels from Hoonah to Dundas Bay – it was a rare and glorious sunny day.
Dundas Bay is a part of Glacier Bay National Park which still legally belongs to the four clans in Hoonah who have claimed Glacier Bay as part of their homeland. The four clans are the Wooshkeetaan (Shark), the Kaagwaantaan (Wolf), the Chookaneidee (Bear) and the T’akdeintaan (Black-legged Kittywake; that’s our clan). Auntie Katherine Mills, who was the eldest of my aunts and uncles with my mother as the youngest of her siblings, said that every year her mom and dad, aunts, uncles, brothers, sisters and cousins would set up camp and gather subsistence foods of the land and sea in Dundas Bay. (Of course, this included gathering wild strawberries and the unique nagoon berry!) She reminded us that Grandma Sarabia’s maiden name was Wilson who had several brothers including Shorty and Mike Wilson. All grandma’s brothers were avid hunters and fisherman. (Mike Wilson also enjoyed gardening. My father and I too!)
As Pat anchored the Mary JoAnne in the bay, Aunt Katherine pointed to two peaks of the Eastern mountain range and explained they were the landmarks for the right place for the nagoon berry patch and where the family used to camp. She said we will go through the trees in the direction between the two peaks and when we come out of the trees there would be a big meadow in a big valley. We took small skiffs to the steep shoreline. I remember how quickly the water moved past even while waiting on board the MaryJoanne; it just proved how swift and strong the river was flowing into the sea even though we could not see the mouth of the river. The place smelled clean and fresh and there was a feeling of true wilderness; the land was brand new.
Surrounded by dark-gray mountains, we indeed came out of the treeline to the berry patch in a valley about 3 to 5 miles long and a mile wide. Imagine a berry patch being THAT big! We spent the entire late morning into the late afternoon picking the best nagoon berries ever! At the end of the day, most of us had picked two 5-gallon buckets – and these berries were about as far away from mankind as you could get so the plants were not just the 8″-high plant we find around the Juneau area; they were 18″ high, like up to my knee, I kid you not! The berries were as big as a man’s thumb! I have thought about that berry patch every year since. If digital cameras were invented then, there’d be lots of photos smeared all over Facebook. Alas, this was almost 32 years ago; we didn’t even have an inkling of digital stuff back then!
Anyway, let’s get back to Pat. What about the Chilkat robe image?
A couple of days ago, as I was thinking about Pat, his wife Karen, the FV Mary Joanne, the berry-picking trip, my aunties and all those from our family who have passed away, I suddenly got this image in my mind: A Chilkat robe in honor of Pat Mills. I want to design a robe that incorporates our T’akDeinTaan clan emblem the Black-legged Kittywake flying around the FV Mary Joanne. When am I going to weave the robe? I don’t know. I am just in the stages of designing and sketching it. Maybe I’ll do a painting of the robe?
Who’s Pat Mills? Here’s his obituary – written by several nieces and nephews with the assistance of his wife, Karen:
“Patrick Gilbert Mills was born May 6, 1947 at the Mill’s home (“down the house’) in Hoonah, Alaska to Gilbert and Katherine Mills. He was a life-long resident of Hoonah. He died January 24 at the Alaska native Medical Center in Anchorage with Karen, his wife of 34 years at his side and surrounded by family and friends.
Pat was a devoted member of the Russian Orthodox Church along with the rest of his siblings. All being competitive, the boys were always challenging each other to be the best alter boy. Needless to say, Pat usually won.
He is a member of the TakDeinTaan Clan and represented the clan at many ceremonies throughout SE Alaska. Pat was the house leader for the Kaa Shaayi hit, head house and is also from Tax’Hit, Snail House. His Tlingit name is Yiskeiwdusa. He loved to dance and was a lively participant at memorial parties and Celebration. Pat is Wooshkeetaan Yadi and Kaagwaantaan dachxan.
Pat was a member of the second graduating class in Hoonah in 1965. He was voted the Most Outstanding Player of the first Hoonah Braves basketball team in 1964. His love of basketball extended to many Gold Medal Tournaments. He was a strong supporter of many Hoonah City Schools sports events. He served in the U.S. Army from 1966-68. As a member of the Signal Corps, he was stationed in Germany. After his discharge, Pat returned to college, earning his Associates from the University of Alaska Fairbanks.
He married the love of his life, Karen Singleton, in a beautiful ceremony outside his grandparent’s cabin in Excursion Inlet on July 31, 1976. A wonderful time was had by all. Each year Pat and Karen always made time for each other to celebrate their wedding anniversary even though it was in the middle of fishing season. Pat and Karen, Karen and Pat — the names just go together after all these years.
Pat lived the fisherman’s dream from birth. He first fished with his father and then progressed through the ranks starting as bull cook up to Captain. He fished everything before everything went limited entry. Pat fished for other Captains including Jacob Pratt Sr., Richard Bean Sr., Warren Sheakley Sr., Dan Sharclane, Sr., Richard McKinley, and Bobby Duncan. Later, he operated the F/V Alberta before buying the F/V Mary Joanne. Pat seine fished, crabbed, long-lined, and trolled. In the past few years he and Karen enjoyed their new skiff and took many family members for rides and fishing trips.
He strongly believed in the traditional and cultural values of the Tlingit Nation, from the gathering and harvesting foods from our land to the roles played by uncles and elders. He took the time to teach and share with others our culture and history. He had such interesting stories about what Grandma Mary Sarabia and Grandpa Juan Sarabia said and did in daily interactions with others. He said, “We could tell who was an important visitor by which snacks we had to set out.” He and Karen have been very proud supporters of the annual “School Ku.eex.” They donated time and foods harvested by their hands. Pat spent a lot of his time fishing and hunting and was generous, sharing his bounty with elders and other family members. He loved kahaakw and often made jars of it to share with others.
He was intensely interested in preserving the family’s Tlingit history. He worked to preserve old tapes and videos of songs, stories and dances and shared them with other family members. Pat was concerned about Tlingit land rights. He wrote many letters to his legislators, Sealaska, Huna Totem and the Juneau Empire. He was not shy about letting people know what he thought and why.
Along with his grandparents, parents, siblings and many cousins, Pat spent his summers, and some winters in Excursion Inlet. Later, he and Karen built a cabin on their land at Excursion Inlet. They called it ‘the nest’ because you had to climb 56 steps to reach it.
Pat is survived by his wife, Karen S. Mills, sisters, Eleanor Moritz, Rosemary (Tom) Jimboy, Judy Mills, Kathy (John Marvin, first cousins, considered and raised as sisters due to the loss of their father when they were very young, Linda Belarde, Edna (Sam) Lamebull, and Daphne (Frank) Wright, brothers, Tony, George, tom, Mike, Chris, Stuart, and Jeff, adopted daughters, Margaret and Carol Haube, numerous nieces nephews cousins, and many others who called him “Uncle Pat” and “Grandpa”, aunts Irene Lampe, Helen Sarabia, Marie Shodda, and Theresa Howard and uncle John Howard. He was preceded in death by his grandparents, Mary Wilson Brown Sarabia, Paul Brown and Juan Sarabia, Albert and Emma Mills, his parents, Katherine (Brown) and Gilbert Mills, brother Gilbert “Butch” Mills, sister Phyllis Mills Bean, aunts Sue Belarde and Margaret McKinley and uncles Ed and Bobby Sarabia, Bill Lampe and James McKinley, and his beloved Salt and Pepper.
Services were held at the Tlingit and Haida Community Center in Juneau on Friday, January 28th and a service in Hoonah at the school on Saturday, January 29.”
Young relatives created a Facebook page in honor of Pat, click here to view continuing contributions of photo images and read: “We Love Pat Mills”
Feb 4, 2011 | Class Act, Latest Art Projects, Showing Off, Tlingit Culture Accentuated |
Martine Reid introduces Clarissa to an audience enthusiastic about Chilkat weaving in the great hall of the Bill Reid Gallery in downtown Vancouver, B.C.
There are several weavers who are scheduled to do presentations during the Time Warp exhibit on contemporary Northwest Coast weavers at the Bill Reid Gallery in Vancouver, B.C. Canada. Since the exhibit opened in July 2010, 18,000 visitors viewed the beautiful weavings; you have a couple of weeks to visit the show – it closes at the end of this month. Haida weavers Delores Churchill, Evelyn Vanderhoop and Lisa Telford will be doing presentations during the closing weekend. If you are in the Vancouver area within this next month, you still have time to visit this fabulous exhibit.
A few of the beautiful handwoven textiles at the "Time Warp" Northwest Coast Indigenous Weavers Exhibit
Last weekend I demonstrated Chilkat and Ravenstail techniques at the gallery on Saturday and Sunday afternoons. Other than the usual demonstration on the techniques of Chilkat weaving (i.e. two-strand twining, 3-strand braids, interlock and the magical use of the drawstring), I spoke of my perspectives and theories on specific personality traits of the various clans, leading to the specifics on each moiety, the Ravens and the Eagles and how I noticed certain patterns in our clan system, patterns I was once oblivious to and now seem obvious. Like what? Well,… that in a class of 10 students, generally one of them will be an Eagle, all the rest are Ravens. Why is that? I brought up the subject of the Killerwhale women, those who are inquiring about learning Chilkat weaving from me. I know not these women, yet after a few emails and phone calls I have an inkling they are from the Killerwhale clan. How can I decipher that they are from the Killerwhale clan just by a few phone calls? I also answered several political questions, they included:
1). How do I feel about robes being auctioned off (there was a man from a local auction company in the audience who had a Chilkat robe with him inquiring about its age)? How do I feel about robes that are in collections and museums around the world that are not in our presence being used for ceremony?
2). Do I teach non-Natives? If not, why?
3). How do I feel about men weaving Chilkat?
(What were my answers? You’ll have to come to my next presentation! – Check out my calendar on my website to see if I am doing a Chilkat weaving presentation in your area at: Clarissa’s 2011 Calendar) Note: If you are in the Juneau area, I will be doing a two-hour presentation at the University of Alaska Southeast at 10am-noon in the Glacier View Room on Thursday, February 24th).
When I answered each question, I had a story to tell from my own personal experiences as a weaver, a member of my clan, a comrade to fellow weavers, and as a teacher of Chilkat. As you can imagine, these questions are touchy subjects. Yet to my own surprise, I answered each with a level of grace. I bet the audience probably thought I had answered these questions all the time. Not! The presentations that I gave this weekend were nothing like I had done in the past.
The presentations were supposed to be 2-hours; I had no idea I went over another hour to two hours and the audience still wanted more. What more did they want as most of my presentation was storytelling? They wanted more of that!
(Now, bear with me as I tell a story that might sound like I am bragging about myself, but continue, as in our custom, we tell the story full circle before we get to the point.)
Since 1989 I have given public presentations and demonstrations to as few as 25 people up to 2000, in diverse venues including Clan Conferences, the U.S. Forest Service, Holland America Lines tour ships, the Smithsonian, the National Museum of the American Indian, Toadlena Trading Post near Shiprock, N.M., the Anchorage Museum of History and Art, the University of Alaska Southeast, the Alaska State Museum and the Teslin Cultural Center. After that many years, you would think that I’ve got my presentation down pat (i.e. an outline, a power point presentation, handouts, brochures, business cards, and basic answers to the all-time questions). I don’t. I improvise every time. No notes. No nervousness. No worries. I do a presentation depending on the “feel” of the audience, the “feel” of the space, and what the hosts expect (or don’t expect) from me. I hadn’t even realized how “unprofessional” I was until most of the audience flocked about me when our time was up and I just carried on continuing to talk about personal experiences related to my life as a Chilkat weaver as if I had known these people all my life! (Like what is up with that!?)
Luckily, gracious Martine Reid reminded everyone that the Gallery was closing for the day else we probably would have had a slumber party staying up all night talking about art and spirituality, leaving out all business and politics.
In the next couple of days following my presentations, I received several emails from audience members who commented on how moved they were. They mentioned being taken all over the board with humor, contemplation, wonderment, grief, satisfaction and inspiration. The interesting thing was I was moved as well. I hadn’t ever done a presentation where I felt a sense of comraderie with the audience, a sense of peace and excitement all at once, and I carried on as if I were a talk-show host, in fact I even FELT like one – like that host Craig Ferguson! I think I even imitated some of his gestures and stances! I kid you not! – There were also times where I was almost in tears as I spoke about various subject matters including my apprenticeship with Jennie Thlunaut, the stories behind the robes, and just being a full-time, self-employed artist living on the edge where most of us dwell, including recent major life-changing events happening all at once.
On the flight returning to Juneau, I was reflecting back upon all the folks I met over the past weekend. I thought about my gracious hosts, Martine Reid, who is the widow of the famed Haida artist Bill Reid, and her companion, Allan Badger, a retired Chemistry professor. I thought about Megan Smetzer who had come to see my presentation; Megan, who was born and bred in Fairbanks, Alaska had done a presentation on octopus bags of the Northwest Coast at the Sitka Clan Conference back in 2007, which is where we first met. I thought about some of the audience members who introduced themselves and talked a little about their lives. I too wanted to spend more time with these folks. It felt good to see Megan, spend some quality time with Martine and Alan, and meet all these people. I wished that my family were in the audience. I wished all my weaving students were there too. I wished Jennie and all her Wolf Clan relatives were there too. Reflecting back upon these things, I am reminded about how it has been a good experience to be a part of this big picture in the world of Chilkat. When Jenny Thlunaut chose me to be her apprentice in 1986 just two months before she passed, I had no idea the life I would lead because of her choice combined with my choice of having accepted; I’ve had humbling experiences. It’s been an honor.
I also thought about my actual presentations at the gallery; why was I so “on” and full of high energy? I was flying high. Why did I not demonstrate more weaving techniques to the audience; isn’t that what they really came for? And how come I’ve neglected giving thought to presenting myself professionally: the product, the presentation, even my own appearance (generally wearing black sweat pants the past 8 years!).
I’ve been doing this work for over 20 years; why haven’t I “gotten with the program” and been more professional.
Now, I’m getting to the point; it is very simple.
I’m passionate about all the aspects of Chilkat weaving – the spirituality, the design and its meaning, the culture, and the actual finished robe. I’m passionate about sharing the information about this art form. I’m passionate about others who are carrying on this tradition and those who are learning about it. I’m passionate about teaching my students, and in turn they teach me. I’m passionate about my life. Those of us who live an artistic life will most likely understand what I am saying and relate! So of course, my passion would show during my presentations regardless of whether or not I appear “professional!” I’m not really passionate about APPEARING to be professional! OMG, what a revelation!
Martine Reid, Co-curator of "Time Warp" exhibit and widow of the late Haida artist Bill Reid - Photo by Alan Badger
Alan Badger, a retired Chemist, and the woodworker for my Chilkat headboard he made to display my Chilkat robe for my presentation - photo by Martine Reid
Many thanks to Martine and Evelyn for all the work in producing this exhibit and inviting me to do a presentation, as well as including my daughter, Lily Hudson and I be a part of this exhibit with our collaborative piece, “Copper Child.” Many thanks to Anthea Mallinson, a tapestry weaver from the Vancouver area, for loaning the Bill Reid Gallery the frame of her loom to host my Chilkat robe. Many thanks to Alan Badger for making the headboard (strapped to Anthea’s loom) for me to display my Chilkat robe for this presentation, and also for posting some photographs of the presentation on Flickr. Many thanks to the staff and volunteers at the Bill Reid Gallery. And many thanks to all those who came out to this event and exhibit.
To view more images of my demonstration, and the opening of the fabulous Time Warp exhibit, visit the Bill Reid Flickr site at: http://www.flickr.com/photos/billreidgallery
Jan 25, 2011 | Latest Art Projects, To Market To Market |
Canvasses drying on my studio floor
In amongst the band practice area, the Chilkat weaving loom, the desk surrounded by 3 art printers, and the TV space, lay 9 canvasses spread about the studio floor in Colorado. They were just gesso-ed.
Gesso is a white primer - the brand I used is "Utrecht." Very thick as you can see, the brush is standing up in the bucket when there is only an inch of primer left!
I am on a two-year mission; I just started this past Sunday, the 22nd. Since 1983, I’ve designed and made 50 Tlingit ceremonial robes in the button blanket, Chilkat and Ravenstail styles. I am using all my paper patterns of these designs for my paintings. For each robe, I intend to paint a contemporary “mate.” When all 50 “mates” are completed, I’m including them in my book of my first 50 robes.
A couple of weeks ago I posted a blog displaying a few of my favorite button robes. Click this link to see those robes: “The Language of Robes: Clarissa Rizal’s First Fifty”
