Oct 2, 2013 | Latest Art Projects, Showing Off, Tools-of-the-Trade |
Building the frame for the “totem pole”
That time right before I wake up is a sensitive time; it’s when things come to me, ideas, concepts, meaningful dreams, etc. That’s how this idea came to me; this idea of a kind of “totem pole…” That was a little over 10 years ago…still making them…!
Stretching the canvas over the curved masonite towards the backside with the seam stapled down the back’s center bar
No nails are used; all pieces are held together with screws. The canvas is stapled to the back center bar. Below are two versions of the totems. One is acrylic on canvas; the other is charcoal on canvas. I have proposed to create a version of these for the Mendenhall Valley Library in Juneau, Alaska. We’ll see if my proposal is accepted.
Charcoal on canvas “Argillite Totem Pole”
Acrylic on canvas – a painted version of the Charcoal on Canvas above
Oct 1, 2013 | North Tide, Showing Off, Tlingit Culture Accentuated |
The photos in this blog entry represent a few public art created since 1987 to present day. (No, they’re not in chronological order according to date completed). Some of these art installations are carved, painted, inlaid; some are beaded sculptures using 4mm and 6mm Czech fire-polished and Austrian crystal beads; and some are hand-sewn wool fabrics with buttons and seed beads.
“Dancing Northern Lights” – Anchorage Senior Living apartment complex atrium, Anchorage, Alaska Czech and Austrian Crystal beads, 4 to 5-foot lengths by 35 feet of beadwork
“Going to the Potlatch” – MV Kennicott cafeteria, Bellingham, Washington – carved, painted, airbrushed, beaded & button work – 4.5 feet high x 15 feet wide
“Salmon Return” – Mt. Roberts Tramway stairwell, Juneau, Alaska – Czech and Austrian crystal beads – 4.5 feet wide x 28 feet long
“Salmon Return” detail
“Shaman With Spirit Guides” – SEARHC (Southeast Alaska Regional Health Corporation) foyer, Sitka, Alaska – carved and painted central panel, hand-sewn applique and mother-of-pearl buttons on wool – 4.5 feet high x 15 feet wide
“Following Our Ancestors’ Trail” – Alaska Native Medical Center hospital 2nd floor entry, Anchorage, Alaska – carved, painted, airbrushed, copper in-lay, mother-of-pearl buttons, brass brads – 9 feet high x 11.5 feet wide
Sep 28, 2013 | North Tide, Showing Off, Tlingit Culture Accentuated |
the character with the spear represents “..represents .gathering from the sea”
“Following Our Ancestors’ Trail” was the theme for the Sealaska Heritage Institute’s “Celebration” in 1992. We created a hand-silkscreened poster with this image. This carving for the Alaska Native Medical Center in Anchorage, Alaska is on the 2nd floor entry. It is mounted to the curved wall of the “meditation room.”
copper pennies for the eyes….
the character carrying the “basket of berries” represents “..represents .gathering from the land…”
the character in the center carrying the copper T’naa represents the “…history, culture, arts and wealth…”
…the large character in the center design field’s face has hand-pounded copper eyebrows and eyeballs…the large image represents the face of the sun
the character with dance staff is the “elder leading the way along the ancestors’ trail…”
Mother-of-pearl buttons are nailed down with copper brads. The humans moving in the same direction as salmon…represents living with the natural cycle of life.
view of the right side of the curved wall mural of “Following Our Ancestors’ Trail…”
the inside of the “meditation room…”
full view of “Following Our Ancestors’ Trail…” – the footprints on a path, the ancestors’ trail and the path of the sun; the humans are the “rays of light” as the sun rises, life everlasting
Sep 13, 2013 | Latest Art Projects, Ravens & Eagles, Showing Off, Tlingit Culture Accentuated |
Chilkat/Ravenstail headdress, double-sided Ravenstail vest, and Chilkat/Ravenstail handbag woven by Clarissa Rizal – 1989
My very first Chilkat piece was a small ghost face pouch woven in a week in 1983. A lousy weaver, I dare say that when I threw the thing against the window it just about cracked it! Nope I never show that one to nobody! Other than the one side of a pair of leggings that I wove with Jennie during our apprenticeship, and the Chilkat woven flap to a leather backpack, the three pieces above and the wall pouch below are my very first weavings before I wove my first Chilkat robe (Sea Grizzly 1999) and my first Ravenstail robe (Copper Woman’s robe woven in 1994).
“Father Cyril Bulashevich & St. Nicholas Russian Orthodox Church” Chilkat wall pocket woven by Clarissa Rizal – 1990 – private collection, Denver, Colorado
Though I have woven several small pieces not pictured here (or anywhere else for that matter), and I am a multi-tasker who has created other major pieces of art in a variety of mediums, the photos in this blog are all of my major weavings. This blog post is to honor my children and grand-children to whom I leave my legacy and especially today to my youngest child whose birthday is today; she is the one who created this website, who created and encouraged me to blog, and who still continues to be a level-headed side-kick.
“Sea Grizzly” Chilkat robe woven by Clarissa Rizal – 1999 – private collection, Vancouver, B.C.
“The Diamonds Robe” woven by Clarissa Rizal – 1997 – private collection, Juneau, Alaska
“Hauberg Raven” Chilkat robe woven by Clarissa Rizal – 2001 – private collection – Seattle, WA
“Copper Woman” 5-piece Ravenstail and Chilkat ensemble woven by Clarissa Rizal – 2001 – Collection of Anchorage Museum of History and Art, Anchorage, Alaska
“Copper Man” 6-piece Ravenstail and Chilkat ensemble woven by Clarissa Rizal – 2006 – private collection, Mercer Island, WA
“Copper Child” 4-piece Ravenstail ensemble woven by Lily Hope and Clarissa Rizal – 2009 – Collection of Sealaska Heritage Institute
“Jennie Weaves An Apprentice” Chilkat robe woven by Clarissa Rizal – 2011 – Private Collection, Los Angeles, CA
7-foot Ravenstail border for a button robe – 2013 – private collection, Vashon Island, WA
“Diving Whale Lovebirds” Chilkat robe woven by Clarissa Rizal – 2013 – private collection, New York, NY
Dancing of “Diving Whale Lovebirds” Chilkat robe by Clarissa Rizal – 2013
Pattern Board of “Resilience” Chilkat/Ravenstail robe designed by Clarissa Rizal – in the process of being woven; completion by June 2014 – commissioned by Portland Art Museum
Sep 10, 2013 | Acting Out and Musical Chairs, Adventures of Rear-Mirror Rissy, Health and Wellness, Showing Off |
The “Bromley” hanging out on a Spruce in the middle of a blueberry patch – Hoonah, Alaska
Who would post a blog entry about a hat? Me, because, because…uh, because…I am what you call an “artist.” —- I gotta tell ya: These leather hand-made hats are from the company “Head N’ Home” in California; they are expensive yet well worth every dollar – There are all types of styles; this one is called the “Bromley”. I chose this one because it didn’t have a wide brim; I can still see the sky, yet my face is protected from the sun, rain and wind. I’ve used this hat in all four seasons, surprisingly keeps my head warm and dry and brings out the “equestrian rider” in me; like I can “ride” any “terrain” in this world and keep myself “high and dry!”
I encourage you to check out their website: http://www.headnhome.com/
Sep 8, 2013 | Adventures of Rear-Mirror Rissy, Honoring Others, North Tide, Showing Off |
Childrens’ “Bogs” at the beach
I cannot remember the first time I saw those colorful, clunky, rubber boots called “Bogs” but for sure it was up in Juneau, the rain country. The brand name of Bogs most likely comes from the fact that these boots are worn where there’s an unlimited supply of water; that would be Southeast Alaska! There are even Bogs for children, even itty bitty children who are just able to walk, and of course, once little ones learn how to walk, they are vulnerable to wet weather just like we are, but even more so because they are closer to the puddles since they are shorter; see?
Little kid’s bogs next to the latest in Bog style; I call it “Spider Woman’s Bogs!”
I have never desired to wear Bogs – they are too colorful, too bulky and too heavy and I don’t want to be wearing something that suggests that there must be a lot of wet weather. Let’s say I am in denial of all the rain in Southeast Alaska! I won’t wear a raincoat; have never owned one. I won’t use an umbrella; though I’ll use one in Colorado, and I’ve never worn those brown rubber boots that everyone else has worn in Southeast Alaska for at least 50 years! Nope, not me.
Wore my bogs while blue berry picking up a mountainside in Haines, Alaska
But then one day, I walked into Shoefly shoe store in Juneau and there were these weird-looking, up-to-the-knee boots with a herring-bone pattern; they came in red and black. I was actually in the market for a pair of “normal” shoes since all I have are either boots or sandals, nothing in between. Oh well, I tried on these boots and they are like waterproof, thinly-insulated, high-top moccasins! So dang comfortable that there’s no such thing as “breaking them in.” I bought them specifically for the wet weather on beaches, in the woods, up the trails, rocky pathways and of course, in the bogs! That’s right. These are the truly remarkable, light-weight, stylish “Bogs in Alaska Bogs!”
“Spider Woman Bogs” fishing in Hoonah, Alaska
Go get yourself a pair at $110. They have inspired me to get my muscles back into shape because I just love walking in them. They’ve got good grip for boat decks, keep you feet dry no matter what, and golly, I’ve been mistaken for Spider Woman on occasion, and I kinda like being incognito for awhile!
“Spider Woman’s bogs” amongst the skunk cabbage while on the way to nagoon berry patch
In the back of the truck riding through the Hoonah mountain side looking for more berries – notice the bag of blueberries at the left foot of “Spider Woman’s bogs”…
Aug 3, 2013 | Honoring Others, Showing Off |
Clarissa’s son, Kahlil Lampe Hudson, Skyping on the big screen with Q&A directly after his film “Low and Clear” at the Nickelodean Theatre in Juneau, Alaska
Kahlil’s documentary “Low and Clear” finally screened in Juneau with two showings on Saturday, August 3rd. Kahlil and friend Tyler Hughen, co-directed and co-produced the film which has made its rounds in the film festival circuit around the nation and world, including Amsterdam, Canada and Australia. For a trailer on the film, you may visit his website at: http://www.lowandclear.com/
In the audience, Kahlil’s old-time friend, Jesse Tabor, son of the late Buddy Tabor, and Kahlil’s sister, Lily Hope
The cinematography in this film is exquisite. Sure you can call me biased because I am his mother, but I am making this statement because it is in no doubt, true. If anything, don’t believe me but see for yourself; watch the film for its photography of nature and the sense of no-slap-stick-humor displayed throughout the film.
On my way up a mountain in Haines to pick berries, I ran into friends who told me that Kahlil’s film was filming this evening at the Nickelodean. What? Kahlil didn’t tell his mother? Determined to pick blue berries still, I decided that I would do both: pick berries for a few hours, then get on a plane from Haines to Juneau to see the film this night and return back to Haines the next morning. Seems ridiculous but what how could a mother not see the official screening of her son’s film in their own home town? Hello? I knew that if I didn’t do whatever it took to get on that flight, I would have regret it and I prefer to live my life with as few regrets as possible.
When I first saw the film on big screen with Dan during the film festival in Telluride, Colorado, we sat in the front seat, in total awe. Viewing the film again for the second time in Juneau was just as awesome with additional excitement this time with the anticipation that the audience would be able to communicate with Kahlil via Skype.
In the opening scene and throughout certain places of the film, I thought of my father and mother. Like I said, the cinematography is exquisite and it brought me to tears. I know my parents would have been proud to see the talents of their first-born grandchild’s accomplishment. I had so wished they were alive to see this film on two fishermen and their ways of fishing.
My father was an avid troller fisherman in Alaska. He was a fisherman in the Philippines where he was born but when he moved to Alaska, he started to fish in the Gulf of Alaska near Kodiak. Then in 1955, he headed down to Excursion Inlet/Haines/Hoonah/Juneau area. He fished all of his life. I would love to have seen the expressions on his face and my mother’s face if they saw Kahlil’s film. C’est la vie!
Go ahead and order the film from Kahlil and Tyler’s website, or even check it out on Netflix if you must see it right away. I suggest you watch it on the biggest screen you can so you can absorb the magnificence of the water scenes.
Click here to read the Juneau Empire article introducing the film.
Jul 28, 2013 | Honoring Others, Latest Art Projects, Showing Off, Tlingit Culture Accentuated |
The Mt. Fairweather Dancers from Hoonah, Alaska prepare to do their performance in honor of Huna Totem Corporation’s 40th year while shareholder members gather together at the fire pit along the board walk that leads one way to the Cannery Site and the other way to the Resturaunt
Huna Totem Corporation had sent out an RFP to their shareholder artists requesting a design in whatever medium the artist chose to represent their vision statement for the future: “…sailing the canoe of our ancestor’s into the future…” My design of a button robe was commissioned. Click here to the blog entry of the design.
(Note: In this blog entry you won’t be seeing any photographs of other activities during the 40th celebration because I didn’t attend any others due to a time constraint – I was only at the celebration for not quite an hour.)
After the first “coming in” dance, the Mt. Fairweather Dancers turn their backs against the audience to show each dancer’s clan emblem
During that same weekend of July 26, 27 and 28 was in Teslin, Yukon for the weekend demonstrating Chilkat weaving with several of my apprentices during their biennial “Kus Te Yea Celebration 2013”. (click here to read the blog entry on the Celebration event.) Huna Totem implored me to come down to Hoonah on the day of their event, Saturday the 27th, to do the presentation of the robe and explain the design; they wanted me to do this in person so I was plugged into the agenda at 1:30pm. Even though I really didn’t want to leave my students and to leave the Teslin Celebration for a day, I agreed to go to Hoonah (especially since Huna Totem has been good to me, I will do the same for them!)
Young children, Fran Franolovich, Lillian Hillman and Marlene Johnson enjoying the youth of the Mt. Fairweather Dancers
I don’t know what other events happened during the day at Huna’s 40th celebration because I really didn’t have time to partake in the events, so I cannot give you any other information other than tell you about my spectacular drive from Teslin to Skagway and the return flight from Hoonah to Skagway via Juneau and Haines. (Click here to see the blog entry on the return flight from Hoonah to Skagway.)
Huna Totem Board Members and M.C. Kenny Grant are invited to dance with the Mt. Fairweather Dancers
The drive from Teslin to Skagway was 3 hours; absolutely one of the most beautiful drives in the world! (I kept in mind that Yukon time is one hour ahead of Alaska time.) I caught the plane from Skagway to Juneau at 11:45am; it was a 45 minute flight to Juneau; then caught the 12:45pm 20-minute flight to Hoonah arriving a little bit after 1pm and by the time I arrived at the Cannery Point, it was about 1:45 and luckily the program was running a little late, I had just enough time to eat a bag of chips, briefly say hello to Kogo Hugo and meet her mother from Japan, and say hello to Florence Sheakley and check out her beaded earrings, and then it was time to do the presentation. After explaining the design (click here for blog entry on the robe design and explanation), I had about 10 minutes to enjoy the rest of the Mt. Fairweather Dancers’ performance and then I was whisked away and caught the outbound flight to Juneau at 3:30 with board members of the Huna Totem; we arrived in Juneau by 4:00. I had an hour to hang out at the consignment shop “Alaska Dames” before catching the 5:30 flight to Skagway via Haines. The pilot said he just had to take a few extra minutes and do a flight like that since the weather was so perfectly beautiful!
The flight from Juneau to Haines was phenomenal (click here to see the blog entry on that fabulous flight); the pilot took us on a scenic flight of the local glaciers in the Juneau area: the Mendenhall, Peterson and Eagle; he flew over Berner’s Bay, then across Lynn Canal up towards the mouth of the Chilkat River just south of Haines – then we flew UP the Davidson Glacier, flew around the back side of the front range of the Chilkats and then DOWN Rainbow Glacier, passed Paradise Cover (where I once had land), over Pyramid Island and then landed at the Haines airport – Holy what a flight!!!
When we flew up Davidson I cried I was so happy I unbuckled my seat belt and looked out both sides of the plane’s window; I just love this land, I love the Chilkat range, I love the Chilkat river; I so be-long here! I swear that when I die, I want my ashes spread up and down these Chilkat glaciers and at the mouth of the Chilkat River and at Paradise Cove!
By the time I arrived in Skagway, it was 7pm (that’s 8pm Yukon time). I could have spent the night in Skagway, but I just wanted to make the drive back to Teslin and wake up to another day of demonstrating in our little “weavers’ cabin” on Teslin Lake for the last day of Teslin’s “Kus Te Yea.” I got detained at the Yukon Alaska border because I got into a half-hour conversation with the border guard about politics, art, cultural integration, etc. It was already 9:30 by the time I left the border and I was getting tired. I had to pull over a couple of times to rest; I was avoiding falling asleep at the wheel. The weather was beautiful the entire day; the night was just as astounding. At this time of year, the sky does not get totally dark, so there are no stars to see, though the natural evening midnight sun light was gorgeous; everything looked “rosie.” I passed 3 cars during the entire drive from Skagway to Teslin, arriving at midnight. And there were never any cars behind me. I suppose I was the only car heading North from Skagway for those particular hours. It was eerie. I don’t think I will do that drive by myself again!
Mentor and Dance Instructor Billy Wilson rests while he watches his “children” do the songs and dances
This particular Raven Dancer knows how to strut!
The pride and unity of the Mt. Fairweather Dancers!
During my brief visit to this event in Hoonah, I looked about me at all the folks who came out to help celebrate Huna Totem’s 40th year – everyone looked so familiar even though many of the people I did not recognize. I looked about and realized that the elders that I was used to seeing were no longer; I realized that the folks who were just 10 to 20 years older than me were really not that much older than me! whoa! I am becoming one of those elders! Holy moly!
After spending an entire month with the in-land Tlingit in Yukon where there is no ocean, no ocean smell, not as much moisture in the air, I truly felt like I fit in with those people, yet, coming down to Hoonah even for an hour, I felt a true kinship with the land here too, of course with its people – my clan the T’akDeinTaan are originally from here – we were branched down from the Coho from the Alsek River in the Yakutat area – I have to remember that I am a “coastal Native” (as the in-land Tlingit define us).
M.C. Kenny Grant reads the real copy of Clarissa’s latest brochure. He was going to read from a xerox copy of the brochure that someone handed to him so he could introduce Clarissa properly when she presents the button robe she was commissioned to create in honor of Huna Totem’s 40th year; when Clarissa saw that his was a copy and not the real thing, she presented him with his own very real brochure! Kenny’s immediate response: “Hey,…this is MUCH BETTER! Now I can actually READ it!”
I would post a photo of myself presenting the Button robe that I recently completed for Huna Totem’s 40th, but I didn’t take a photo of me explaining the design to the celebration audience. I will post one as soon as someone emails or texts me a photo image of it! In the meantime, click here to see the design and creation of the button robe BEFORE delivering the completed robe to Huna Totem.
Gunal’cheesh Hoho! Thank you very much for visiting my blog and reading this entry!
Jul 5, 2013 | Latest Art Projects, North Tide, Showing Off, Tlingit Culture Accentuated, To Market To Market |
A partial view of the annual Adaka Native Art Exhibit only held for a week during the Adaka Festival – exhibitors in this section were: Coppersmith Brian Walker, Carver Wayne Price, Weaver Lily Hope and Regalia-maker Clarissa Rizal
Charcoal on canvas 6-foot column by Clarissa Rizal next to painter, Jean Taylor
Several Yukon beadworkers’ moccasins are housed below Carver Jimmie Joseph’s masks next to Clarissa Rizal’s charcoal on canvas
- Hanging up in the rafters as part of the artshow below are two Ravenstail robes woven by Ann Smith flank Clarissa Rizal’s Chilkat robe
Jun 24, 2013 | Adventures of Rear-Mirror Rissy, Honoring Others, Showing Off, Tlingit Culture Accentuated |
Ravenstail robe “Grandmother’s Time” woven by Ann Smith, Whitehorse, Yukon danced by her son Shawn Smith, and a Chilkat robe “Diving Whale Lovebirds” woven by Clarissa Rizal, Juneau, Alaska, danced by fellow artist Wayne Price. They were both “hired” to dance the robes with the “Weavers’ Dance” on Sunday, June 23rd during the Adaka Festival main stage.
Ann Smith carefully adjusts her son Shawn Smith’s collar of “Grandmother’s Time” Ravenstail robe
A couple days before the “coming out” of four woven robes that were in the Adaka Art Exhibit, Crystal Rogers and I were in the Elder’s room (where the weaving class was held during the Adaka Festival); I was playing with the warp stick using it like a walking cane pretending i was an old old elder – then I began to dance with it like a man holding a dance staff and wouldn’t it be fun if all of us weavers had one of these and danced with it like this – suddenly Crystal excitedly exclaimed: “…no, let’s hold it like a woman, soft and demure as if we are holding a precious item in our hand…” – we were so dead set on doing this during the “coming in” dance of the woven robes that we asked Ann Smith if her son could make enough warp sticks for all the weavers…and so was born the use of the warp sticks during the “coming out” dance of the woven robes…!
Clarissa adjusts the closure of Crystal Rogers’ “Eagle Raven” button blanket (a collaboration of two artists: design by Preston Singletary, hand-sewn by Clarissa Rizal
“Grandmother’s Time”, “Copper Child” (collaboration Lily Hope and Clarissa Rizal) and “Eagle Raven”
Front views of all three…
The following photos are of Whitehorse’s weaving class members dancing the “weavers’ dance…”
Ravenstail and Chilkat weavers with their “warp sticks” – a hand-made wooden stick with notches to measure the warp yarns for a dance robe or dance apron – these sticks were fashioned after the late Jennie Thlunaut’s warp stick
Thank you very much, Everett Smith, for crafting an additional 10 wooden warp sticks with short notice of two days so we may dance the “weavers’ dance!”
While the narrator introduces the next song, the dancers keep their backs to the audience waiting for the next dance song to begin
The “Raven” robe on the right is also designed by Preston Singeltary and sewn by Clarissa Rizal
Clarissa’s “Diving Whale Lovebirds” Chilkat robe danced by Wayne Price is dead center stage…
“Diving Whale Lovebirds” Chilkat robe and 4-piece Ravenstail ensemble “Copper Child”
“Weavers’ Dance” with our warp sticks made by Ann Smith’s son, Everett Smith – there were 13 of us – lucky number….!
“Weavers’ Dance”…
Wayne Price in Chilkat robe, Tristin Primozic in 4-piece Ravenstail ensemble, and Shawn Smith in Ravenstail robe
Tristin Primozic of Champagne and Aishihik First Nations is a member of the Wolf moeity and he is a young song leader in training with the Dahka Khwaan Juniors Dance Group. He is wearing “Copper Child”, the 4-piece Ravenstail ensemble woven by Lily Hope and Clarissa Rizal.
After the Weavers’ Dance, outside in front of the cultural center for a photo shoot for the local newspaper
Backside of dancers with robes…the fourth robe on the far left was woven by Ann Smith, danced by Ravenstail and Chilkat weaver Charlene Baker
And thank you to all our models for dancing our robes for us: Charlene Baker, Tristin Primozic, Shawn Smith and Wayne Price
Four robes – Two Ravenstail robes woven by Ann Smith; Chilkat robe woven by Clarissa Rizal, and child-size 4-piece child-size Ravenstail ensemble woven by Lily Hope and Clarissa
Owners of the new robe, Ken and Lauren Kaushansky with dancer Wayne Price and weaver, Clarissa Rizal
