Jul 24, 2015 | Adventures of Rear-Mirror Rissy, Class Act |
Dominik Modlinski’s painting pants
Retired school principal and one of the lead organizers for the Juneau Plein Rein group, Cristine Crooks sent out an email announcement that world-traveler plein air painter, Dominik Modlinski was coming to Juneau to teach a 3-day class in mid-July. Intrigued, I checked out his website and very much liked his painting style. I weighed how much work I already had on my plate with the cost of the class and I decided that no matter what, I had this once-in-a-lifetime opportunity and I jumped in! Wow! I learned more in three days with this young man than I did in an entire year of painting class at a college!
The night before the class began, Dominik gave a presentation on his work
Born and raised in Warsaw, Poland in 1970, Dominik started painting at 6 years old. He said he always knew he wanted to be a painter. In Poland’s education system, whatever a child shows is his strongest interest, that is the avenue in which his parents and teachers guide him. Dominik has painted in the wilderness of South America, Africa, Japan, Quebec, British Columbia, Alaska and Yukon. He lives in Nanaimo on Vancouver Island and during the summers he spends his time in Yukon with a cabin in Atlin. Check out Dominik’s website at: http://www.paintingjourneys.com/
Dominik presents the color wheel and color charts
Day One: We worked indoors at the Juneau Arts & Cultural Center (JACC) learning how to mix our paints and make color charts. Fascinating! I have made color charts in high school and again in college courses and I found them totally boring, however, I have NEVER learned how to mix the colors to make these charts the way Dominik taught us; we mixed all day without a drop of boredom!
Dominik suggests using this type of disposable pallete paper
We learned Complementary Contrast #1:
Two colors are complementary if their pigments mixed together produce a neutral gray-black. Physically, light of two complementary colors, mixed together, will yield white. Two such colors are a strange pair. They are opposite, they require each other. They incite each other to maximum vividness when adjacent; and they annihilate each other, to gray-black, when mixed – like fire and water. There is always but one color complementary to a given color. In the color circle, complementary colors are diametrically opposite each other.
Examples of complementary pairs are: yellow-violet, blue-orange, red-green
In analyzing these pairs of complimentaries, all three primaries – yellow, red, blue – are always present:
yellow – violet = yellow, red + blue
blue – orange = blue, yellow + red
red – green = red, yellow + blue
Dominik demonstrates how to mix a beautiful grey using equal amounts of yellow, blue and red
Complimentary Contrast #2:
Each complimentary pair has its own peculiarities:
Yellow – Violet, represents not only complimentary contrast but also extreme dark-light contrast.
Red – Orange – Blue-green is a complementary pair, and at the same time the extreme of cold-warm contrast.
Red – Green are complimentary, and the two saturated colours have the same brilliance.
Many paintings based on complimentary contrast exhibit not only contrasting complementaries themselves but also their graduated mixtures as intermediates and compensating tones. Being related to the pure colours they unite the two into one family. In fact, these mixed tones often occupy more space the pure colours.
Notice the focused intent of Dominik’s students!
Simultaneous Contrast #1:
Simultaneous contrast results from teh fact that for any given color, the eye simultaneously requires the complementary color, and generatesit spontaneously if it is not already present.
The simultaneously generated complementary occurs as a sensation int eh eye of beholder, and it is not objectively present.
the simultaneously appearing colour, not being objectively present but genereated in the eye, induces feeling of excitement and lively vibration of ever-changing intensity.
Each of six pure color squares contains a small neutral gray square, matching the background color in brilliance. Each gray square seems to be tinged with the complementary of the background. The simultaneous effect becomes more intense, the longer the principal color of a square is viewed.
Three small gray squares, surrounded by orange:
Three grays barely distinct from each other have been used. The first gray is bluish, and intensifies the simultaneous effect; the second gray is neutral, and suffers simultaneous modification; the third gray contains an admixture of orange, and therefore fails to be modified.
Dominik demonstrates how he begins most of his paintings starting from the top working down
Simultaneous Contrast #2:
The simultaneous effect occurs not only between a gray and a strong chormatic colour, but also between any two colours that are not precisely complementary. Each of teh two will tend to shift the other towards its own complement, and generally both will loose some of their intrinsic character and become tinged with new effects.
Under these conditions, colours give an appearance of dynamic activity.
Click here for Part 2, 2nd Day of Plein Rein Painting Class with Dominic Modlinski
Jul 20, 2015 | Acting Out and Musical Chairs, Adventures of Rear-Mirror Rissy, Showing Off, To Market To Market |
Clarissa takes a photo of herself on KTOO Public Radio station’s monitor – Juneau, Alaska
who sponsors the weekly TV series called “Colores” at PBS New Mexico.
When show organizer John Morris contacted me about being a part of the Antique Native American Art Show in Santa Fe, New Mexico opening August 17th, I did not know it would involve doing my first public television interview airing on Saturday, August 8th in Albuquerque, NM. Modern technology made it so that the interviewer, who was in the television station in Albquerque, could interview me while I sat in the KTOO television sound room. Technology sent the visual interview via internet along with me providing about 100 images of my work to the TV company who sponsors the weekly TV series called “Colores” at PBS New Mexico in Albuquerque.
The interview will broadcast on the following dates:
Clarissa in the TV recording studio of PBS’s local station at KTOO in Juneau, Alaska
The episode with my segment will broadcast on Saturday, August, 8th at 4:00pm on Channel 5.l PBS New Mexico who sponsors the weekly TV series called “Colores”.
It will also repeat as follows:
Monday, August 10th at 9:30pm on Channel 9.1.
Friday, August 14th at 10:30pm on Channel 5.1.
Just a reminder that this is a segment not the entire show. The way Colores! works is that each show is made up of approximately 3 segments. Clarissa’s segment is about 5 minutes. They will mention the Santa Fe Antique Native American art show during the program.
Thank you Tara Walsh and Joan Rebecchi at PBS New Mexico and the folks at Juneau’s KTOO for getting this interview together.
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
Jul 11, 2015 | Adventures of Rear-Mirror Rissy, Honoring Others, Tlingit Culture Accentuated, To Market To Market |
L to R: Dorothy Grant, Vicki Soboleff, Catrina Mitchell, Nancy Barnes (Jr.), and Clarissa Rizal sport Dorothy Grant’s beautiful designer clothing
During the final hour of the Sealaska Corporation’s annual meeting, my friend Rhonda Mann and I took a jaunt over to Dorothy Grant’s booth of her designer clothing. Of course we went wild over the blues! And it turns out that after a half hour of having a ball, all of us danced away with a Dorothy Grant!
For those of you who want to know about our top Northwest Coast Native designer of 35 years, check out her website at: www.dorothygrant.com
Jul 2, 2015 | Adventures of Rear-Mirror Rissy, Honoring Others, Showing Off, Tlingit Culture Accentuated |
Clarissa Rizal models her 7-piece dance ensemble created by 4 generations of women in her family: Clarissa’s Grandmother Mary Sarabia made the tunic for great uncle Leonard Davis, button robe designed by Clarissa and beaded by mother Irene Loling Sarabia Lampe, button work by daughter Lily Hope. (Photo by Minnie Clark)
This evening, the Adaka Festival sponsored the 2nd biennial Da Ze Tsan Fashion Show featuring traditional and contemporary designs from First Nations designers and artists, including a special sealskin collection from Nunavut, performances by Andrameda Hunter, Nyla Carpentier, and special guests. I was asked to be one of the special guests to show the following ensembles:
Mariella Wentzell models Clarissa Rizal’s latest 5-piece Chilkat woven ensemble “Chilkat Child” which includes the headdress, robe, apron and leggings (photo by Minnie Clark, Yukon News)
At $20/ticket (Elders and youth $10/ticket), I was totally surprised to hear that the tickets were sold out the first day of Adaka a week ago, and the standing room audience proved it so! — Fabulous traditional and contemporary works walked this runway. I did not include any photos here for several reasons: I was back stage during the event so I did not take any photos. These photos of my ensembles were borrowed from Minnie Clark, Photographer. And if you want to see photographs of the rest of the fashion show, then be-friend Minnie Clark on Facebook.
Megan Jensen models Clarissa Rizal’s three-piece leather ensemble made for her mother Irene Lampe by beadworker Kate Boyan in 1981 — Clarissa inherited the ensemble with her mother’s passing in 2011 (Photo by Minnie Clark)
Wayne Price models the “Egyptian Thunderbird” button blanket robe designed and sewn by Clarissa Rizal – though you cannot see the design in this photo image, you can check out the robe at the Haa Shagoon Gallery in downtown Juneau, or you may see it during one of the Native American art markets in Santa Fe, New Mexico (August), the Lawrence, Kansas (September) or Tulsa, Oklahoma (October), or Los Angeles (November – check out my “Calendar” website page for details (Photo by Minnie Clark)
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 22, 2015 | Adventures of Rear-Mirror Rissy, Health and Wellness, North Tide |
Fresh-picked salmon berries – Auke Bay, Alaska
A few Juneau Chilkat and Ravenstail weavers gather together for a meal hosted by one of the weavers at their home; then we weave afterwards. The “Wednesdaynite Weavers” we could call ourselves. A couple of Wednesdays ago, Nila and Laine Rinehart brought fresh Salmonberry pies for dessert – none of us had had this taste before; not like this!!!
Recipe for fresh salmonberry pie!
A couple of days ago, my friend Lis and I went out to her secret berry patch in Auke Bay – we picked all we could BUT we had to leave some berries behind because we didn’t have enough time nor any other containers!!! We picked enough to make about three standard size pies, or as the photo below suggests: 2 large and 3 small pies! Just in time for Father’s Day!
Instructions for making salmonberry pie!
NOTE: I suggest you cut the cardamom in half….use only 1 tsp instead of 2 tsp! In our opinion, 1 tsp of cardamom in the mixture is sufficient!
Additional notes…
Some folks may not like the unique flavor of cardamom which if I am not mistaken is a key ingredient in Chi Tea. If you are a creative baker, you may experiment with other flavors to enhance the quality of this wonderful-tasting berry pie…! Salmon berries are unlike any other berry — they are the first of our berry season in Southeast Alaska!
2 large and 3 small Salmon Berry Pies celebrating Father’s Day 2015!
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 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/
Jun 15, 2015 | Adventures of Rear-Mirror Rissy, North Tide, Showing Off |
Using woodless color crayons, Clarissa does an abstract of Mt. Juneau beginning with the sky
Would I have known how much I enjoy doing outdoor drawings and paintings of the landscape!? I joined Juneau’s Plein Rein group thanks be to the encouragement of my friend Lis Saya! My first outing was a couple of days after my birthday — best birthday present I ever gave to myself…!
Juneau Plein Rein members set up at Marine Park in Juneau, Alaska
Many years ago, Lis told me that she was not one who bought things though if she were to add up the amount of money she spent on experiences, she would be rich. I told her that she is rich with experience! Even though Plein Rein is not expensive, the act of going out into the country, setting up one’s easel and enjoying the scenery, the weather and what unfolds on your canvas is enriching…there’s something magical about it all…and I like magic!
Local musician and artist, Lis Saya works on a pastel of Mt. Jumbo across the channel on Douglas Island
Periodically, I will include posting plein rein images on this blog, no matter where I travel, whether it be to Yukon, Southeast Alaska, New Mexico, Colorado, etc. I am blessed to have the privilege and mindset to have done all that I have done, do what I am doing and continue full steam ahead. Even though I may not have a home just yet, my heart is my home, and my heart is full of love for what I do and what I am becoming, therefore life is good.
Mt. Jumbo in the distance beyond the gates placed on the tour ship docks; as if we will pay attention to these kinds of security measures…
