Jul 30, 2015 | Honoring Others, Tools-of-the-Trade |
A sculpture of a human wearing a Chilkat robe and cedar bark neckring by the late Tlingit carver Amos Wallace in 1964
While talking with the owner of the Haa Shagoon Gallery in downtown Juneau, in the middle of the conversation I suddenly turned around. I wasn’t even sure what I was looking for; just pure instinct led my eyes to this sculpture that totally caught my fancy. Why? I’m not sure, but as soon as I saw this figure I felt so compelled that it had to go home with a local, not a tourist, that I immediately called Amos’ grand-daughter and my friend, Donna Beaver Pizzarelli. With no answer and worried that a tourist would buy the sculpture, I snatched up this 8″ tall mold of a carving by Amos Wallace made in 1964 and I have it placed in a prestigious location: next to my weaving loom. This figure watches over me as I work. It’s great to have the company!
This small sculpture is a cast made of a plaster-like compound that gives it the appearance of wood or a stone called argillite. Manufactured by a company called Griffin’s Alaska based in Edmonds, Washington State between the years of 1964-67, they had a complete line of bowls and totems which are frequently mistaken for stone. Even the weight of this little guy feels like stone.
Amos Wallace was one of less than a handful of local Tlingit carvers here in Juneau, Alaska in the 1940’s until a few years before his passing in 2004. I grew up in the Russian Orthodox Church where he and his wife, Dorothy Wallace sang in the choir. It wasn’t until recently I discovered from his son Brian that Amos was of the Raven Moiety, T’akdeintaan Clan of Hoonah, which is also my clan! A gentle, soft-spoken man, his name was Jeet Yaaw Dustaa. Born in 1920, his older brother Lincoln Wallace, was also a carver.
Read the Juneau Empire article about Sealaska Heritage Institute receiving a collection of Amos’ drawings for their archives donated by Amos’ son, Brian Wallace at: http://juneauempire.com/art/2012-07-12/amos-wallace-collection-donated-walter-soboleff-center
Jul 26, 2015 | Class Act, Tools-of-the-Trade |
Student Carol Baker’s custom-made palette box hook directly onto the tripod as shown made by Coulter
I am always fascinated by an artist’s equipment, in no matter what the medium the artist works. Every one of us in this painting class had a different method to their madness. Before Dominik’s class officially began, I ran around looking at the different types of palette boxes the various students had; there were two that were quite innovative.
Custom-made paint brush holder made of PVC pipe hooks onto the tripod for easy access
From a compact unit, this Palette Box folds out exposing the glass plate palette in the center, drawer for paints and brushes to the left, counter and brush stand holder to the right, and easel on the “lid” — within the easel is a built-in box that can hold approximately 5 to 7 canvas boards
Here’s the paint brush holder
name of the company who creates custom-made the palette box of these last few photos
Jul 23, 2015 | Tlingit Culture Accentuated, Tools-of-the-Trade, Tricks-of-the-Trade |
“Frog” clasp for button robe
Here’s an easy front clasp for button robes. Fetch one from JoAnn’s for about $5 (depending on size). One was enough for this robe however, if you have only smaller size, then think about using 2 or 3 “frog” closures for the robe.
Jul 18, 2015 | Latest Art Projects, Tools-of-the-Trade |
Dyed red antler bone carved into fish
It’s been awhile back that I purchased these so I don’t recall where I bought these little, red, valuable trinkets cut from antler, dyed red, sawed into the shape of fish and then embellished with circles and lines using a dremel tool. I figured I will use them one day for a button robe. Have any of you seen these guys; if so, where?
Jul 13, 2015 | Adventures of Rear-Mirror Rissy, Class Act, Latest Art Projects, Tlingit Culture Accentuated, Tools-of-the-Trade |
7-year-old Elizabeth Hope reads the step-by-step instructions out loud on how to make a drum
Sealaska Heritage Institute sponsors the “Baby Raven Reads” program which mainly teaches young children how to read yet also conducts other cultural projects for the young minds and bodies. This past Sunday, Mary Folletti taught the drum making class for children and their families took place for a couple of hours at the Gajaa Hit Building near the ANB Hall in Juneau. Thank you Davina Cole, project coordinator from SHI…!
Prepared raw hide is soaked in water
The drum making kits were purchased from a supply store in Centralia, Washington State at Centralia Fur and Hide Company (their website is of the same name). The kits included the pre-bent wood frame, the pre-cut circle of hide and the raw hide threads.
A few tools and supplies needed for drum making: needle-nose pliers, hammer, scissors, push pins and “Tightbond” wood glue
My grand-daughter Elizabeth and I were one of approximately 20 Juneau families who took this class. Most of the children were around 4 to 7 years of age, though there were a few younger.
After the raw hide has soaked, place on a flat surface smooth side down with pencil markings facing down; pat with a towel to absorb excess moisture
For many years my friend, Becky Etukeok made drums from local hides such as deer, moose, and caribou. After taking this class I have a larger admiration towards her dedication to this art form. I had never seen how drums were made nor had the appreciation of how they were made until doing this simple class where all the hard work was done for us. Although Beckie now is the program director of arts at the Alaska Native Heritage Center in Anchorage, she is still known as “Beckie Drum-maker.”
Soak spiral-cut, 3/8″ “threads
When threading, pull so there’s no slack, but not too tight as that will make your drum too high pitch.
Instructor Mary Folletti demonstrates how to begin threading
How to include your young child in making a drum:
* Let your child explore the materials (sinew, frame, hide) while you name them.
* Talk about how the frame is a circle. Ask what shape the hide is and why it’s bigger than the frame
* Ask what the different materials feel like (smooth, wet)
* Ask or explain where the materials comes from (deer, tree, intestines)
* Count the holes together, name the tools (hammer, pliers, scissors)
* They can help pull the sinew through
* The can help “pull tight”
* They can help hammer tacks with close supervision
Begin threading through one hole and tie a half hitch knot
Thread through the hole directly across the first hole, and repeat
Clarissa helps her grand-daughter Elizabeth how to create a handle
Most everyone in the class has created their “star” pattern
I had a blast making this drum with my grand-daughter Elizabeth. I look forward to doing more cultural things with all of my grandchildren as they grow up.
Some drum makers fold rawhide between the threaded areas over the frame and hammer a tack in each section to hold it down.
When you have completed your drum, make sure you take the thumb tacks out and let your drum dry on a clean, flat surface, face up. Depending on your climate: it takes about 2 days to dry in Alaska, though at 7000 feet where the climate is a bit drier like the 4-corners area of the United States, the drum may not even take a day to dry!
Directly after creating the handle and pushing the raw edges of the leather to the inside of the drum, with her strong fingers, Elizabeth carefully smoothes the frame removing all the big folds and wrinkles – you must do this step as soon as possible before the hide even starts to dry
HOW TO CARE FOR YOUR DRUM:
Your drum was made out of an animal and a tree and some say the drum is a living being so you want to honor its spirit with love and respect
Store it wrapped in cotton, wool, or a custom drum bag face up or on a wall. Keep it from extreme temperatures and direct sunlight as heat may cause it to crack.
Water expands and heat constricts. On sunny days you can mist with a damp cloth or spray bottle. If your drum is cold you can warm it slowly, using your own skin as a gauge.
Clean with a slightly damp cloth. You can condition with Shea butter bought from cedarmountaindrums.com
Careful not to set anything on your drum and remember to play your drum often. It wants to sing!
Mary Folletti teaches some of the kids how to do various beats with their new drums and drumsticks
How to make a drumstick:
You will need a stick, padding (cotton or wool cloth), sinew, and a piece of buckskin.
1) Put glue on one end of stick covering 1″ down around the whole stick.
2) Wrap padding around end of stick that you glued, snuggly not to tight.
3) Use sinew and wrap around padding a dozen times crisscrossing, then tie off on stick behind padding.
4) Center Buckskin on end of padded end, pull down stick and hold snug behind padding then wrap sinew very tightly around buckskin and stick 7 to 9 times; tie off using scissors to trim excess buckskin
Jun 29, 2015 | Adventures of Rear-Mirror Rissy, Class Act, Honoring Others, Tlingit Culture Accentuated, Tools-of-the-Trade |
Artist, Professor, and Instructor of Tlingit form line art, Lance Twitchell introduces the class first with the spiritual and cultural context
Yes, I took an evening of form line instruction. Yes, even though I have been drawing formline for nearly 40 years, I felt like I could use some FORM-al instruction. I learned a bit from the instructor, Lance Twitchell. I learned a few techniques that I had never though of using AND I learned that I am not too bad of a designer, and that I could use some more assistance and inspiration. After all these years, it’s fun taking a class in which you know almost as much as the instructor! Lol.
Approximately 18 students, many of them just beginners, in the form line class sponsored by Sealaska Heritage Institute
A few years ago, Sealaska Heritage Institute took it upon themselves to begin teaching form line classes after Haida Artist Robert Davidson told the audience in attendance at the Sealaska Juried Art Competition that “the Tlingit people didn’t have very good artists who mastered the form line art.” (I had heard complaints from other well-accomplished Tlingit artists about Robert’s statement. I laughed at the absurdity, though at the same time I know that all of us will continually better ourselves at the formline art. Even so, did Robert realize his statement was a slap in the face to several Tlingit artists who have been working as long as he or nearly as long, like Nathan Jackson, Preston Singletary, Israel Shotridge, Rick and Mick Beasley, the Chilton brothers, etc.?)
Students were given the task of choosing a design aspect of the carved bentwood box shown on the screen to replicate as best as they could on their drawing paper
I don’t know if Robert realized how he was saying these things may have caused a ruckus for the locals though nevertheless, SHI decided it was high time they do something about educating the Tlingit artists no matter where they were in their careers as designer/artists.
Lance provided a list of the various form line definitions created by Bill Holm and Bill Reid over 40 years ago
Lance Twitchell added some very good aspects to the one-night instruction plan: the design terms in Tlingit language! I felt Lance did a fine job of leading the students carefully step-by-step. Though the part I enjoyed the best about his presentation was his acknowledgement of all the artists who had gone before and the spiritual representation of the art. — Being self-taught in Tlingit form line design, I appreciate the fact that SHI has taken the initiative to conduct classes throughout Southeast Alaska. If we had these classes 10, 20, 30, 40 years ago, I would have taken them…and that’s why I had the privilege to finally attend one! Thank you Sealaska Heritage Institute!
Tlingit Names in Formline
Jun 25, 2015 | Honoring Others, Tools-of-the-Trade, Uncategorized |
My 50-year-old antique sewing basket was given to me for my 9th birthday from my Mother, Irene Lampe
This little sewing basket has sentimental value to my life as a designer and maker of button robes, a costume designer for theatre and a seamstress who sewed all my own clothing for myself, family and friends for many years,… and now my grandchildren.
Today is our mother’s birthday. She would have been 90 years old. I don’t know if she remembers giving me this gift for my 9th birthday and I have used this little treasure box for 50 years and will most likely continue to do so until my own passing. I don’t know if she ever saw this basket at my sewing table; though, for some reason it would be nice for her to know that I have used this little treasure box and have never replaced it with anything else.
Back in March I was online searching for small sewing baskets for each of my oldest grand-daughters and to my delight, I came across some of these baskets for sale — though none of them had the plastic tray! If any of my readers happen to come across these baskets (that include the plastic tray), I would appreciate it if you would please contact me!
Thank you Mom, for your thoughtfulness. I have always appreciated your support.
Jun 21, 2015 | Adventures of Rear-Mirror Rissy, Tools-of-the-Trade |
Clarissa’s desk sports a 6-year-old Samsung “SyncMaster XL2370” monitor linked to her 6-year-old MacBook
10 years ago, I didn’t even know how to turn on a computer. I refused to spend any time in the world of technology; like why would I need it, right? There’s only so much time in the day and I’d rather create than look at a computer screen for hours. Even though I had an official website since 1998 when most artists did not (only because my friend Cecil insisted I had a website so he created it), for the first nearly 8 years whenever I received an email from someone commenting on my work on my website, I always had to ask my kids to pull up my website to see what the inquirer was talking about and at that time it was a chore to do so! Since then, my attitude has changed. I had to surrender to the fact that every business interaction was all on line; there was no need for a hard copy of anything. Not even what’s inside my wallet.
Clarissa’s office in relationship to her living room
My attitude changed too when I began taking control of how my website required many choices: the lay out, the choice of colors, the photographs, the text, etc. I began to see the artistry of a website design. I truly appreciate having a daughter in the family who enjoys creating websites. She also encouraged me to blog nearly 5 years ago even though I initially resisted.
Clarissa’s office in relationship to her sewing space
In reality, I spend 1/3 of my year creating actual product, 1/3 doing administrative work, and 1/3 doing marketing. Creating actual artwork is the best part; maintaining the business end of keeping one’s self from being a starving artist is 2/3 the work which includes: drafting up proposals, applying for grants, responding to emails, attending to bookkeeping, keeping track of receipts, applying to do art markets or artist residencies, doing the taxes, packaging and shipping artwork, preparing for, traveling to, attending and setting up/taking down an art market, researching and ordering supplies, updating the website, photographing the art, comparing insurance, posting blog entries, maintaining the vehicle, cleaning and maintaining the work space, and filing papers, etc.
Clarissa’s office from the perspective of the kitchenette
I spend at least half of my time as an artist in business on the computer. I spend at least half my time sitting in this office. Some artists have enough income to pay someone else to do the administrative/marketing aspect. I have yet to make that kind of income to afford even a rental with running water and sewer, let alone an administrative assistant. Though some day you will know when I have an administrative assistant. She will be the one who answers the call from you!
Clarissa’s weaving area from the perspective of her office
People wonder if I even have a home. Folks want to know where I live and work because it seems I travel a lot (though I have yet to afford a vacation.). “Clarissa’s Studio” is a 9-part series showing the 9 areas of Clarissa’s studio where I work full-time and live part of the year in Pagosa Springs, Colorado. As you know by now, I remodeled a 2-car garage about 10 years ago as a studio without running water or sewer system because I had no plans of using this space as a place of residence. I had no idea that years later, because of big changes in my personal life, I would not be able to afford paying rent anywhere else. so for nearly 4 years I have weathered insufficient heat during the winter and the inconveniences of not having a real kitchen and a bathroom, until someday I can afford a real home.
Over the next three months (starting this past May), I will introduce you to various parts of my humble 700 sq.ft. sanctuary divided into sections. Here are the parts of “Clarissa’s Studio Series”:
- “The Living Room” where I play music, read, crochet, knit and clear out the coffee table to do Tai Chi;
- “The Office” where I draft proposals, emails, FB, grants, letters, update my website and post blog entries;
- “The Sewing Space” where I sew button robes and clothing for the grandkids;
- “The Weaving Space” for all my Chilkat and Ravenstail weaving projects on various size looms;
- “The Grand Table Space” where I do large layouts of robe pattern designs and cut the applique for button robes;
- “The Drawing Room” where I sketch and finalize drawings for robes, paintings, collages and book illustrations;
- “The Painting/Collage-making” where I create just that, along with printing limited edition Giclee’ prints and shrinkwrapping them;
- “Clarissa’s Kitchenette” where I zap an occasional Amy’s TV dinner for lunch and I keep a modest supply of drinking water;
- “Clarissa’s Storage Units” for beautiful and practical storage of all weaving, spinning, sewing, dyeing, beadworking supplies and recent collection of books
The first three blog entries on “Clarissa’s Studio” series include:
Part 1: “The Livingroom” at: http://www.clarissarizal.com/blogblog/clarissas-studio-part-1-the-living-room/
Part 2: “The Kitchenette” at: http://www.clarissarizal.com/blogblog/studio-part-2-clarissas-kitchenette/
Part 3: “The Drawing Room” at: http://www.clarissarizal.com/blogblog/clarissas-studio-part-3-the-drawing-area/
Part 4 — “The Beautiful, Practical Storage Unit” at: http://www.clarissarizal.com/blogblog/clarissas-studio-part-4-beautiful-practical-storage-unit/
Jun 20, 2015 | Tools-of-the-Trade |
A hand-built ceramic platter created by my daughter Ursala Hudson – 2005
As you may know by now, I like to know where all my tools are, so when the time comes where I need them, I can grab it in an instant. Especially reading glasses!
Jun 18, 2015 | Adventures of Rear-Mirror Rissy, Tools-of-the-Trade |
10′ wide x 7′ high, beautiful, functional cherry wood entertainment center converted into a storage unit
A month ago I fetched this beautiful, solid wood “entertainment center” off of a craigslist ad in Albuquerque, New Mexico. I had been searching for about two weeks on Craigslists in Denver, Salt Lake City, Flagstaff, Santa Fe, Phoenix and Albuquerque. Yep, once I saw this beauty, nothing was gonna stop me; I went and got what I had envisioned and drove it back home. Everyone thought I was nuts to drive so far, that is of course until they saw it in my studio!
I replaced the storage boxes under the desks; I replaced the various sizes and mismatch of dressers and cabinets; I replaced the disorderly appearance with a unified, beautiful, functional piece of furniture that makes this part of my studio look like (I quote from a family member): “…wow, this place looks like something out of an old museum…!”
Where the TV is supposed to go…
I store all my dyeing supplies in one part, my weaving supplies in another, along with my spinning supplies, sewing supplies, beadwork supplies and picnic/camping baskets. And lest I forget to mention, this wooden ensemble of 3 pieces cost $350 in excellent condition. The seller said he bought it 10 years ago for $3500.00.
I placed a wooden closet bar across the top and hung three fabric sweater closet shelving
The top shelf inside each end cabinet features a recessed light showcasing all hand-made items including Northwest coast glasswork, beadwork, carvings, pottery and masks. Sitting on top of the left cabinet is my hand-made Swedish musical instrument called the “Hummel”; on top of the center cabinet is my carved and painted “bentwood box” I made for my mother as a Mother’s Day gift in 1972, and on top of the right cabinet, are a painted box with the “Step Into the Light” NWC design created back in 1981, along with my trusty leather hand-made hat from “Head-N-Home” and my feathered headband made by “Feathered Flies.”
I was always unsatisfied with my previous layout of this part of my studio due to all the mismatch and irregularity of storage. I wanted something that helped me be more sufficient as well as easy on the eyes. This has been a pleasure. If you ever find yourself in the same boat I was once in, do yourself a favor, choose unified beauty!
The grand work table to the left of the grand storage unit
Folks want to know where I live and work because it seems I travel a lot (though I have yet to afford a vacation.) “Clarissa’s Studio” is a 9-part series showing the 9 areas of Clarissa’s studio where I work full-time and live part of the year in Pagosa Springs, Colorado. As you know by now, I remodeled a 2-car garage about 10 years ago as a studio without running water or sewer system because I had no plans of using this space as a place of residence. I had no idea that years later, because of big changes in my personal life, I would not be able to afford paying rent anywhere else. so for nearly 4 years I have weathered insufficient heat during the winter and the inconveniences of not having a real kitchen and a bathroom, until someday I can afford a real home.
Over the next three months (starting this past May), I will introduce you to various parts of my humble 700 sq.ft. sanctuary divided into sections. Here are the parts of “Clarissa’s Studio Series”:
- “The Living Room” where I play music, read, crochet, knit and clear out the coffee table to do Tai Chi;
- “The Office” where I draft proposals, emails, FB, grants, letters, update my website and post blog entries;
- “The Sewing Space” where I sew button robes and clothing for the grandkids;
- “The Weaving Space” for all my Chilkat and Ravenstail weaving projects on various size looms;
- “The Grand Table Space” where I do large layouts of robe pattern designs and cut the applique for button robes;
- “The Drawing Room” where I sketch and finalize drawings for robes, paintings, collages and book illustrations;
- “The Painting/Collage-making” where I create just that, along with printing limited edition Giclee’ prints and shrinkwrapping them;
- “Clarissa’s Kitchenette” where I zap an occasional Amy’s TV dinner for lunch and I keep a modest supply of drinking water;
- “Clarissa’s Storage Units” for beautiful and practical storage of all weaving, spinning, sewing, dyeing, beadworking supplies and recent collection of books
The first three blog entries on “Clarissa’s Studio” series include:
Part 1: “The Livingroom” at: http://www.clarissarizal.com/blogblog/clarissas-studio-part-1-the-living-room/
Part 2: “The Kitchenette” at: http://www.clarissarizal.com/blogblog/studio-part-2-clarissas-kitchenette/
Part 3: “The Drawing Room” at: http://www.clarissarizal.com/blogblog/clarissas-studio-part-3-the-drawing-area/
