Dec 14, 2014 | Adventures of Rear-Mirror Rissy, Showing Off, To Market To Market |
Clarissa’s booth at the Evergreen Longhouse in Olympia, features similar sale items as the Alaska-Juneau Public Market during Thanksgiving weekend in Juneau, Alaska
The Evergreen Longhouse Holiday Art Market is generally held for two days the 2nd weekend in December in Olympia, WA. Sue Shotridge and I decided to do one day, Saturday, December 13th. A couple of weeks prior we were both at the Alaska-Juneau Public Market and we sold fairly well, though of course we would have enjoyed selling more! We knew we would most likely not sell as much at this venue since it was a lot smaller, however, there was more of a Native customer base since all the vendors were Native Americans from the area.
It’s always the female customers who enjoy the painted masks
It’s always interesting to see what most folks are interested in; you just never know until you put it out there. Most were unawares of the Chilkat and Ravenstail weavings on the young mannequins. To my surprise, I cannot say anyone even remarked or paid attention to the weavings – I guess we were too far south (even as close as Olympia is to Alaskan shores!).
Sue and Israel Shotridges booth next to Clarissa’s at the Longhouse Holiday Art Market
Dec 12, 2014 | Acting Out and Musical Chairs, Adventures of Rear-Mirror Rissy, Showing Off, Tlingit Culture Accentuated |
Ku.eex’s vocalists: Nahaan, Clarissa Rizal, Om Jahari, Gene Tagaban, and Preston Singletary – December 2014
Gene Tagaban, Om Jahari, Hahaan
In the Engineers room with Randall Dunn, Preston Singletary, Gene Tagaban and Nahaan
Randall, the sound engineer, makes it all sound soooo gooooood! All recordings are done at Avast(!) Sound Studios, Seattle, Washington
Our names and personalities are as individually artistic as our band name “Khu.eex” which means “potlatch” in Tlingit. Preston called us together for the past three days to record the vocals with the already-recorded instrumentation. We worked on the vocals in this band to sound like a chorus with two and three-part harmonies of many, many voices as if there is a large group of singers as we do in our traditional songs and dances. In the olden days, our songs were always sung with harmonies; we want to inspire our traditional dance groups to bring this element back – I feel “Khu.eex” can be a powerful venue to help this intent.
Singer extraordinaire: Om Jahari
Om is the professional vocalist; the rest of us have sung (mainly our traditional songs) but we are not considered professional singers. However, having Om on board helped “round us out!” This is the first time the five of us have sung and recorded together; it was FUN!
Our fearless leader: Preston Singletary
I don’t know if Preston has been a prominent singer with all the bands he has been in over the years as a musician. Khu.eex is his venue to begin to bring out his best voice. Khu.eex is one of his longest-time, biggest dream coming true! We who he has called together, are fortunate to share his dream.
Read my other posted entries about our band at:
http://www.clarissarizal.com/blogblog/a-lead-singer-in-prestons-band-ku-eex/
http://www.clarissarizal.com/blogblog/improvising-with-prestons-new-band-koo-eex/
Dec 9, 2014 | Adventures of Rear-Mirror Rissy, Showing Off |
Clarissa begins her presentation on the design and weaving of her latest Chilkat robe “Resilience” to the members of the Native American Arts Council at the Portland Art Museum
Many, many years ago, if you asked me to get in front of other people and talk about whatever, no matter what size the audience, and no matter if the speech would be in front of my family and relatives, I would freak out. No one nowadays, believes me when I tell them of my once-upon-a-time fear and shyness; — especially not those who were at any of my four presentations at the Portland Art Museum this past weekend of December 5th through the 8th, in Portland, Oregon.
Clarissa explains the meaning of every design element in the robe
Audience feedback tells me that I am a fantastic storyteller at heart, a natural-born comedian, an up-and-coming philanthropist, a content and yet passionate, visual artist. Interesting feedback…things I don’t really define as me though obviously those outside of me experience me on the contrary of what me believes about me. I guess I APPEAR to others to be those things I have yet to add to my list of how I define myself. My personal experience of myself is passion and inspiration. I feel passionate about my work; in fact I am inspired by my own work. My latest Chilkat robe which is now in the permanent collection of the Portland Art Museum was, and continues to be, an inspiration.
Clarissa tells another tale about the making of “Resilience”
With every art piece I design and create, no matter what medium, I strive to “out-do” the last piece of that particular medium. I compete with myself; I have experienced this is where true, fulfilling competition lay.
Thank you to all of you I met during my 4-day stay in Portland, especially the members of the Native American Arts Council at P.A.M. Thank you to Deana Dartt who worked hard on acquiring this robe for PAM’s permanent collection. And thank you to Beverly Terry who sponsored the making of the “Resilience” Chilkat robe!
You may see photos and read about the design description of my latest Chilkat robe “Resilience” at these blog entries:
http://www.clarissarizal.com/blogblog/resilience-has-new-home/
Dec 9, 2014 | Ravens & Eagles, Tlingit Culture Accentuated |
The Curator of Native American Art at the Portland Art Museum, Deana Dartt with her unique staff Mike Murawski, Alex Mar, Todd Clark – They stand next to Clarissa’s recently completed Chilkat robe “Resilience” now part of the permanent collection of Portland Art Museum – December 2014
Surprises come in all sizes and shapes, some pleasant and unpleasant. Learning how to keep the emotions in check is, I have discovered during my mid-life “learning curve”, the best way to stay off the emotional roller coaster. I used to respond fully at everything, whether positive or negative; I have come to realize that was a lot of energy to expend especially now as I am getting older, it is best for me to conserve that energy for myself, to myself, as I am needing to keep any energy I have if I want to continue doing what I do and all the things yet that I intend to do before I go. So,…the surprise of seeing the Chilkat weavings collection at the Portland Art Museum was indeed pleasant that will last the rest of my lifetime. Why?
The double-headed Raven “Two Door” Chilkat dance tunic and its wooden pattern board – the tunic was woven by my weaver teacher/mentor Jennie Thlunaut
Though there were a couple of other weavings and button blankets etc., I focused on these two tunics I show herein: one is a “Grizzly Bear” tunic woven by Mrs. Benson, the paternal aunt and weaving teacher to my teacher/mentor Jennie Thlunaut, and the other tunic, the double-headed Raven “Two Door” tunic was woven by Jennie Thlunaut. Mrs. Benson was born in the mid-1800s and died in the early 1900’s; Jennie was born in 1895 and died in 1986. Jennie’s mother died when Jennie was 12; her mother had just started weaving another robe. With the help of Jennie’s 4 paternal aunts, Jennie completed the Chilkat robe her mother started. Mrs. Benson was one of those aunties.
Full view of the double-headed Raven “Two Door” Chilkat dance tunic by Jennie Thlunaut
The Portland Art Museum has in its collection a “weavers lineage” most likely, unlike any other museum anywhere else in the world. How is that possible? The “Grizzly Bear” tunic was woven my Mrs. Benson, the “Two Door” tunic woven by Jennie Thlunaut, and now the “Resilience” Chilkat robe woven by me! There is no other museum or cultural institution that owns a Chilkat weaving by me, so in this case, P.A.M. owns a weaving lineage of three generations! — Now how cool is THAT!?
Jennie wove two of the double raven “Two Door” tunics. Long time ago, I was told the story of why she ended up weaving two identical tunics, but now I don’t remember. And like anything, if I don’t TELL the story enough times, either verbally or at least written down, the story gets lost, so let this be a lesson to us! However, the Pennsylvania Museum in Philadelphia owns the other identical tunic and I KNOW they have the story!
Full view of the double headed Raven “Two Door” tunic pattern board
This hand-painted pattern board hosts two designs; on one side is the “Two Door” double raven, on the other side is the “Grizzly Bear”. Of course, It be sensible that this large piece of wood, which is cut the width of the tree, be used efficiently!
Close up of a Chilkat tunic neckline and sleeve woven by Jennie Thlunaut’s auntie “Mrs. Benson”
This particular Chilkat weaving tunic woven by Mrs. Benson is my ALL TIME FAVORITE woven piece since I first laid eyes on Chilkat weavings nearly 40 years ago! The design, the workmanship, and the colors which have yet to fade terribly are all fabulous – such an inspiration. In fact, back in 2000 I did a limited edition of only 40 silkscreened prints using a photograph of this tunic as my inspiration to portray Jennie Thlunaut’s lineage of weavers titled “ShaaxSaaniKeek Weavers Circle.”
“Bear” wooden pattern board for the Chilkat tunic woven by “Mrs. Benson”
Traditionally, because men were the artists who carved and painted the form line art of the Northwest Coast, they were the ones who designed the Chilkat. The form line of Chilkat is “translated” from the traditional form line so that the weaver can more easily weave the shapes. So in order to create a successful Chilkat pattern, the designer must understand how the weaving process is done. Very few artists know how the weaving process is done; in fact, there are many of our people who have never seen the weaving process, and when they do, they are shocked at the intricate amount of work and the numerous hours to create even a small weaving. They then understand why the Chilkat weavings are “expensive.”
The “Bear” Chilkat tunic woven by Jennie Thlunaut’s auntie, Mrs. Benson – trimmed with sea otter fur on neckline, cuffs and the sides
Dec 6, 2014 | For Crying Out Loud, Honoring Others |
Cindy Gustafson, born in Carlisle, Pennsylvania May 21, 1935; passed away peacefully in her sleep on December 3, 2014 in Pagosa Springs, Colorado at the age of 79
On the 2nd day sailing on the Alaska ferry, Wednesday, December 3rd:….. this evening 6 hours southbound from Ketchikan, destination Bellingham, Washington, when I entered my stateroom, I noticed a friend texted me that a dear friend Cindy Gustafson passed away last night in her sleep. I had just finished dinner with new-found friends and was planning on designing the next part of this child-size Chilkat robe; I also planned on finalizing my Power Point Presentation for the Portland Art Museum two nights from now; I was also planning on shaping the best part of my weaving. Oh well, as usual a death of a dear one takes precedence over commitments and goals. I put these all aside. I watched the darkness glide by outside the window for several hours until I laid myself to a still sleep. Without dreams.
Cindy Gustafson was a spunky elder right up there next to my Kate Terry who passed away over five years ago. I loved these gals. Both women were well known in our community; one wrote a “gossip column” for the local newspaper and the other had her own “gossip column” just by being a great listener.
Halloween was the last time I saw Cindy. We were at the monthly WHIPS luncheon (Women Helping In Pagosa Springs). I noticed she looked very radiant as if she were wearing a bit of blush and eyeliner, her bluest eyes sparked like sapphires, ah, but there was no trace of additions; her radiance was of the natural kind. As usual she wanted to know about my love life, my family life, and my business – I told her I was preparing to visit the latest additional grandchildren in Juneau and I was also finishing up the last of my products for the upcoming markets I was planning in Alaska during Thanksgiving weekend, and that I would be out of town until Christmas Eve so I would be missing all of the local holiday events that she had been planning for the community, and that Dan was going to be meeting me in Portland to play a live gig during my Power Point Presentation and that we would be driving back to Colorado together. She was happy to hear things were going well for me.
Cindy and I always remarked about the other’s attire; we always admired what the other was wearing. That day she was wearing one of her fantastic skirts, the Seminole Indian patchwork skirt I told her that she would willingly will me when she passed…I told her I would cherish the skirt forever and I would tell the world about the wonderful woman who once owned the skirt before me and I would say this with pride. Cindy thought I was a little crazy but I know she forgave me because we shared being Gemini’s which made it all the more reason why we had this common understanding of our character!
Now I imagine wearing that skirt, though I will most likely not inherit it and it is important to note the skirt means more than an object of desire. The skirt represented the passing of a beautiful thing to another with love, respect and honor. Whatever skirt I wear will always remind me of Cindy.
Cindy began the women helping women in Pagosa Springs. About 4 years ago, when I was still adjusting from several major life changes, I was a recipient of a WHIPS donation. I will always remember this. Here’s the link to the WHIPS: http://pagosawomen.com/sample-page/
Like our beloved Kate Terry, I will always remember our Cindy Gustafson!
Dec 5, 2014 | Adventures of Rear-Mirror Rissy, North Tide |
Boarding the “MV Malaspina” of the Alaska Marine Highway, in Juneau, Alaska
Heading south for the Winter, I took my “Chilkat Mobile” filled with most of my artwork of prints, greeting cards, weavings, and supplies. I have a full month ahead of me; once I arrive in Bellingham, Washington, on Friday, December 5th, I drive a bee line straight down to Portland, Oregon for my presentation at the Portland Art Museum. I sure miss my parents; they would love to be on board with me. Alas, I travel with me, myself and I.
Clarissa’s 1992 Toyota Corolla “Chilkat Mobile” – one of a pair of “His and Her” vehicles, once owned by Peggy Garrison – the other one still lives in Juneau, once owned by Peggy’s husband, Dick Garrison
After 4 days in Portland (I have another presentation at P.A.M. on Monday, December 8th), I drive North to Seattle for another recording session with “Ku.eex”, and then afterwards….well… just keep an eye to this blog because I will post my travels as I go along…
Leaving Ketchikan, Alaska–notice the Chilkat robe reflected in the window – leaving Chilkat country!
We sailed three full days from Juneau, Alaska to Bellingham, Washington. These three days I relished because they were my first three days off I have had all year! Seriously, I have had one deadline after another and then some for an entire year; it’s my time for just me now. oh boy! My cell phone rarely had service, so no texting either. I wasn’t schlepping stuff here and there, no packing stuff in and packing stuff out. I didn’t have to do any errands. No Wi-Fi so no emailing or responding to emails; no bookkeeping, no researching on line for anything! I just sat back and watched the scenery go by, quietly, peacefully, and no one knocking at the door!
Playing every “Rain” song on the ukelele Clarissa can think of, to the tune of leaving “Rain Country…”
I played ukelele every day. I took a shower twice a day. I had breakfast and lunch (from my cooler) in my room. I drew every day. I wrote every day. I stretched and danced every day. I stared out the window doing nothing sometimes for at least a couple of hours every day. Golly, it was so much fun doing the basics!
There were no more 2-berth staterooms, so Clarissa settled for a 4-berth — Clarissa spread out all her work on each berth: just like her studio, Clarissa had one berth for weaving, one for drawing, one for music, one for her “office”…luxury, simplicity, …spoiled rotten!
For those folks who have never been to Alaska, I always recommend that they travel by way of the ferry system out of Bellingham, WA or Prince Rupert, B.C. It’s a great way to introduce one’s self out of the culture of the “Lower 48” into our unique culture in Alaska. It’s also a great way for those of us from Alaska to ease our way to the “Lower 48” without too much culture shock.
Drawing a “seaweed” pattern for Chilkat weaving, while ocean-bound: the view changes every second…!
Dec 2, 2014 | Honoring Others, Tlingit Culture Accentuated, Uncategorized |
Tlingit Carver, Wayne Price holds his hand-made Tlingit-style carving adze inside the Soboleff Cultural Center, Juneau, Alaska
It’s been a long time since a new building has been built in downtown Juneau; most likely since the Sealaska Corporation building was built (1971?) on the waterfront. Just a little ways behind Sealaska towards the mountainside, the Walter Soboleff Cultural Center is being built. As the construction crew works daily, so does master Tlingit carver Wayne Price. He’s chipping away at every exposed cedar plank, beam and column. Wayne has created many, many patterns in the wood; one of them is the “herring bone pattern” which is one of my favorite. He’s got his work cut out for him for several months. And I quote him: “….it all adze up!”
Wayne’s “work table” is located in what will be the “front stage” platform of the center
Wayne is from the Wooshkeetaan (Shark) Clan from Kake, Alaska; he lives in Haines with his wife, Cherri. They house the Silver Cloud Art Center in one of the big, white Ft. Seward (formerly captain quarters) homes on the hill overlooking Lynn Canal. They have held many classes and retreats in their home including: traditional dances and drumming, traditional food gathering and prep, carving, silver-smithing, and weaving. Wayne is one of the few Tlingit carvers who knows how to build the traditional dug-out cedar canoes…I quote him: “…and may I add that my canoes float, they are sturdy, ocean-going vessels…!”
Visit Wayne’s website at: www.silvercloudart.com
Wayne stands amongst yellow cedar planks he still has to adze…He says “…look at all the boards… there so many of them yet to still carve…I’ve got my work cut out for me; it all adze up!”
I first met Wayne on the eve of Halloween 1981. He had come up to Sealaska Corporation offices to “sell some of his wares…” I bought a hand-carved and painted “Moon” mask and a silver bracelet. I remarked to Wayne that he had a resemblance to my younger brother, Tim to which he replied: “Really?…I look like a family member of YOURS….!?”— My Lily had just met Wayne then, she was not quite 2 years old. When I asked Lily if she knew Wayne, to our surprise, she replied: “Yes,….that’s Uncle Tim…!”
Wayne adzes one of the “long boards”
I would have posted close-up images of Wayne’s variety of adzed patterns, but I leave it up to my reader’s imagination. I would rather you see his patterns first hand, like I said, in every exposed piece of wood in the building; it’s quite spectacular. Sealaska Heritage Institute did right to include the talented hands of Wayne Price’s swing—for many generations, his example will spur future generations to expand on his work!
Nov 30, 2014 | Adventures of Rear-Mirror Rissy, Showing Off, To Market To Market |
Clarissa paints the last of 12 masks she had for sale at the Alaska-Juneau Public Market
I remember when Peter Metcalfe, the producer/director of the Alaska-Juneau Public Market first started this venue for artists and craftspeople back in the early 80’s. The Public Market replaced the Juneau Arts Council’s “Holiday Fair and Market” started back in 1978 where I used to sell hand-made hats, hand-made kid’s clothing and hand-made masks. A few artists like John and Sharon Svenson (Haines), or Linda Fordham (Gustavus), came in from out of town.
Now, the Public Market has at least 250 local artists/crafts people from all over Southeast Alaska. Held during Thanksgiving Day weekend at the Centennial Hall in Juneau, Alaska, it feels like a “family reunion” of sorts because many of the artists only see one another once a year at this time.
Sue and Israel Shotridge hang out with Clarissa on “her side” of their shared booth at the Alaska-Juneau Public Market – November 28, 2014
1989 was my first year at the Juneau Public Market. I had a booth smack daeb in the middle of the lobby just outside the “great room” at Centennial Hall. I sold about 100 “dream catchers” traditionally made of branches and “sinew.” I think dream catchers made their debut in Juneau, Alaska (or maybe all of Southeast) that Thanksgiving Day weekend. They were an unknown thing back then. I learned how to make them in early ’89 from a Huron Native woman who was visiting the Institute of American Indian Arts in Santa Fe. I taught a couple of friends (one in Santa Fe and one in Juneau) how to make dream catchers of silver and crystal beads; I know the single mother supported herself and her two daughters for a number of years making the silver dream catcher earrings, pendants and hair barrettes.
Jessica Isturis models the mask she purchased from Clarissa
2010 was my second year at the Juneau Public Market. (My father had passed away a couple of years prior, so I moved in with Mom. After about 6 months of living with Mom, she wondered why I was still around, like when was I going home? I paused before I answered her with this statement: “I will go home whenever….uh,…you “go home.”)
For two months before the market, I painted one of my largest called “Frog Speaks” along with about 7 smaller paintings. I also printed my own fabric and made 10 dolls with “Chilkat warp” hair (leftover “thrums” trimmed from Chilkat robes I had made in the past). The night before the opening of the market I got cold feet! Like I have spent 2 months working away on these things and I have not a penny to my name and what makes me think that anyone is going to buy this stuff….!?!?!?!
I sold all the paintings, sold 7 of the 10 dolls (the remaining 3 I gave to each of my children’s first born), and I sold a few prints! I made enough income to pay 5 months’ bills!
Nancy Barnes models the mask she purchased from Clarissa during the market
2014 was my third year at the Juneau Public Market. I had on display, my “Chilkat Child” woven ensemble and my daughter Lily’s “Little Watchman” Ravenstail ensemble, along with my tall charcoal on canvas “Totemic Theories.” I sold a few of my button blanket greeting cards, my hand-painted masks, limited edition prints, beaded hats, paper feathers, the children’s book I co-illustrated, but not one item of the Chilkat/Ravenstail spinning and weaving supplies sold. I now know that the Public Market is NOT the right venue for selling those supplies!
A couple of hand-painted masks finish drying on a piece of plastic
My oldest grandchild, Elizabeth Hope (I affectionately call her “SikiKwaan”), helped me sew spinning pads for those weavers who don’t mind spinning their own warp. She is shown here sewing on my 1974 “Genie” Singer sewing machine my mother bought me when I graduated from high school. This machine has “seen it all…!”
Grand-daughter “Sikikwaan” helps Grandma Rissy sew the spinning pads for sale at the Alaska-Juneau Public Market
The Shotridges and I shared this booth at the Juneau Public Market this year. It was quite cozy and full…! Between us, we had a variety of things for sale. You would think that we looked like we were having fun!—Little do people know that I was a bitch while setting up the booth that first morning! For three months prior, I had worked my fingers to the bone preparing a variety of items for sale and I was plum exhausted by the time we set up this cozy “gallery” that I didn’t FEEL like setting up, but who else is going to do it!?
So you folks out there who wear rosy-colored glasses thinking that artists “have a grand life” – go think again! Sure we set our own hours, HOWEVER, most of us work around the clock; we never leave our work! And do we really want to? Do we really want to leave our work? Hmmm…very good question! I have to ponder that one.
Sue Shotridge and Clarissa Rizal on “their side” of the shared booth at the Alaska-Juneau Public Market
Sue and I are like two peas in a pod. I don’t know if I have ever met anyone else who reminds me of me when it comes to how we operate. High energy, we are consistently on the go. And somehow we don’t “bump into one another!” Woe be to us if THAT ever happened! We’d blow one another out of the water!
Clarissa finishes painting masks and trimming out the child-size dance apron with .22 bullet shells in Clarissa’s “borrowed” studio overlooking a typical Alaskan waterfront home…!
Nov 17, 2014 | Tlingit Culture Accentuated, To Market To Market, Tools-of-the-Trade |
Hand-sewn spinning pads by Clarissa Rizal
As some of you know, we spin our warp (the vertical yarn on loom) on our thighs. In the old days, we spun on our bare thigh, though because the cedar bark can tend to be rough, it can take the first layer of skin off, so therefore when women began to wear pants, spinning warp on blue jeans was the relief, though the blue dye from the jeans bled into the color of the warp. However, there are some of us weavers who are innovative! This invention that I’ve used for nearly 30 years, is from the late Phoebe Warren, grand-daughter to Chilkat weaver Jennie Thlunaut (my weaving teacher back in 1986)
Above is an example of a spinning pad I’ve made and plan on having for sale at the Juneau Public Market Thanksgiving weekend 2014. When spinning Chilkat or Ravenstail warp, these pads save the life of your jeans, they keep your leg from getting all wet (and cold!), they are smooth so no wrinkles to obstruct your spinning process and there is no residue of color bleeding into your warp…!
Nov 15, 2014 | Adventures of Rear-Mirror Rissy, Showing Off, Tlingit Culture Accentuated, To Market To Market |
6 of 9 Button blanket robe designs by Clarissa Rizal on greeting cards
The greeting cards above will be some of the items available for sale at the Alaska-Juneau Public Market held Friday, Saturday and Sunday of Thanksgiving weekend in Juneau, Alaska.
I invite you to visit my Booth #P-15 right across the isle from Tony Tengs “Chilkat Cones” in the main hall of Centennial Hall. And please note: I will be sharing the booth with Tlingit carving artist & silversmith, Israel and Sue Shotridge (www.shotridgestudios.com).
The following is an inventory of items for sale; they include (but are not limited to):
A limited supply of Chilkat weaving and spinning supplies: Cedar bark without the sap (both whole and split), Chilkat warp, Chilkat weft yarns in golden yellow, turquoise, black and cream, spinning pads, etc.
Books for sale that I wrote, made or co-illustrated include: “Chilkat Pattern Templates”, the “Chilkat Weavers’ Handbook”; Juneauite author Hannah Lindoff children’s book “Mary’s Wild Winter Feast” — and books that I highly recommend: “The Intenders” by Tony Burroughs and “Go Pro – Becoming A Network Marketing Professional” by Eric Worre.
Miscellaneous items include: hand-caste paper feathers, limited edition Giclee prints, hand-sewn, beaded, felt Russian Sailor hats, and gumboot shell earrings made by daughter Lily and sister Dee Lampe.
Come check out my latest 5-piece Chilkat woven ensemble called “Chilkat Child” which will be on display next to my daughter Lily’s 4-piece Ravenstail woven ensemble “Little Watchman.”
We’ll see you in a couple of weeks during the weekend of Thanksgiving at the Public Market in Juneau (Friday, Saturday and Sunday)!
Nov 14, 2014 | Adventures of Rear-Mirror Rissy, Latest Art Projects, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Charcoal by Clarissa Rizal
Here’s my Winter Schedule for upcoming Art Markets, presentations, classes and demonstrations. If you are in any of these locations, come by and visit; I’d love to see you!
1) One-day Chilkat/Ravenstail Weaving Class, Juneau, Alaska, Sunday November 23rd, 10am-4pm with potluck lunch — this class is for experienced weavers who have a project on their loom and need assistance, comraderie, support and a feast! Class is limited to just 10. The Northwest Coast Weavers’ Supply will have weaving/spinning items available for sale BEFORE the Public Market sales; so you will have the privilege to be the first to purchase your supplies for your next weaving project — Interested? Give me a call at 970-903-8386 or email me at: clarissa@www.clarissarizal.com
2) Alaska-Juneau Public Market, Thanksgiving weekend Friday, Saturday, & Sunday, November 28-30th, Booth #P-15 in the main room of Centennial Hall on Willoughby Avenue in Juneau, Alaska – Click here to see the list of some of the items I will have available for sale
3) Portland Art Museum, Portland, Oregon Presentation of “The Making of Resilience Chilkat Robe”, Friday, December 5th; I will also have Chilkat-related items available for sale AND I will have two woven ensembles on display only during this presentation
4) Evergreen Longhouse, Olympia, WA, — The Holiday Market is open Friday and Saturday, December 12 & 13; I will only be selling on Saturday! — Click here to see a list of some of the items I will have for sale.
5) “Raven’s Nest” Gallery (owned by Sue and Israel Shotridge), Vashon Island, WA — I will be demonstrating Chilkat weaving on a child-size robe; I will also have on display two child-size woven ensembles, “Little Watchman” a 4-piece Ravenstail outfit woven by my daughter Lily Hope, and my 6-pience ensemble “Chilkat Child.” I will also have items for sale as well; click list here to see list of some items.
6) Chilkat Weaving Class, Corvallis, OR – December 15-19th; for experienced weavers with a project on their loom. — This class is currently full.
7) Heard Museum Juried Indian Art Market & Fair, Phoenix, AZ – March 7-9, 2015
Nov 12, 2014 | Latest Art Projects, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Clarissa prints limited edition Giclee’s on her large format, ink jet Epson 7880; this is the first time she has enjoyed printing in the 5 years she has owned this machine! (Grand-daughter Amelie points to the photo of “Resilience” Chilkat robe)
Shrink wrapping Clarissa’s limited edition Giclee prints, to be marketed during this Winter season 2014-15
This past week has been a bit nutty — While printing limited editions of some of my work, I’ve been cutting out and sewing spinning pads, splitting bark, spinning warp, designing a log for the Northwest Coast Weavers’ Supply, making travel arrangements, etc. etc. including but not limited to, the joy of holding a newborn granddaughter and of course time out with her older sister, Amelie!
