Ready to Begin Weaving Next Chilkat Robe

Left to Right:  bundle of Chilkat template transparency pattern sit atop 800 yards of Chilkat warp; the warp stick (to measure the warp lengths efficiently – fashioned after the late Chilkat weaver, Jennie Thlunaut’s stick); dyed yellow weft and black weft yarns accompanied by stack of baby socks (for keeping warp ends clean); deep turquoise blue weft yarns; backdrop is a partial view of the Chilkat robe pattern board

After 3 months of preparing my materials and pattern for my next Chilkat robe, I am about to begin warping the loom (aka “dressing” the loom),…maybe by tonight!  I am on schedule.  My goal was to begin weaving the robe on October 15th!  Today is the day!  And I celebrate here with you today with a photo of my materials!

This robe is commissioned by the Portland Art Museum; check out the complete image and story on this robe at this former blog entry.   And read Portland Art Museum’s Curator of Native American Art, Deana Dartt-Newton’s narrative of this robe.

 

In Memory of Ellen Hope Hayes

Ellen Hope Hayes – 2007

The first time I met Ellen Hope Hayes was at the Pioneer Cafe, Sitka, Alaska back in 1985.  I had just finished a meal with some friends and I was waiting for a ride to come pick me up.  I noticed how this beautiful, elderly woman had been staring at me for quite some time; she finally got up and came sat down by me when my friends had left.  First thing that came out of her mouth:  “I think I know who your mother and father are.”  With that famous smile and equally famous glint in her eye, she continued:  ” I’ve been watching you.  You look like your father but you act like your mother…Is her name Irene Sarabia?”

We laughed.  She reminisced about her and her first husband, Roger Lang, going to school together at Sheldon Jackson School with my mother back in the late 40’s.  She said my mother was just way too much fun!  And ever since this first introduction, we were street acquaintances.  Throughout the years, we would see one another in passing, on the ferry boat, at Centennial Hall in Juneau, during a Clan Conference, at a potlatch, or at a memorial service.  We would catch a few lines, give one another hugs, shake hands and hearts “until we meet again.”

One of the most gracious women I have ever come to know; an inspiration to all of us younger women to learn how to become (if we aren’t that way already – and God knows, I sure wasn’t born with much grace!).

The following is an obituary from the Sitka Sentinel, October 11th, 2013:

“Ellen Hope Hays, who made history when she was named superintendent of Sitka National Historical Park, passed away peacefully on Oct. 8, 2013.  She was 85 years old.  Ellen was living at the Sitka Pioneers Home at the time of her death.  She had moved back to Sitka from Bainbridge Island, Wash., in January 2013.

Ellen was born Dec. 29, 1927, the seventh of 14 children born to Andrew and Tillie Hope of Sitka.  She was a Tlingit of the Raven moiety, Kik’sadi Clan and Point House.  Her clan name was Kaa Katlin (Raven Looking Forward).  She was raised and lived much of her life in Alaska.  She married Roger Lang and they had one child, Karen Valorie Lang.  In 1978 she married Henry Hays, and they moved to Bainbridge Island, Wash., in 1994.
Ellen was a graduate of Sheldon Jackson School, and was awarded an honorary doctor of law degree from the University of Alaska in 1996.  Ellen spent her professional career with the National Park Service and on July 9, 1974, she became the first woman and the first Alaska Native to be appointed superintendent of a national park in the Pacific Northwest.
She also was the first woman to apply and be accepted as a member of the Alaska Native Brotherhood.  She was instrumental in the Brotherhood’s successful effort to operate the Visitor Center craft shop wing of Sitka National Historical Park, which eventually became known as the Southeast Alaska Indian Cultural Center.
Throughout her life, Ellen promoted the values of art and the humanities.  She served on many boards and commissions that were dedicated to these causes, both in Alaska and Washington.
Ellen forged many enduring friendships throughout her life.  She was a mentor, friend, and teacher to many.  She was passionate about her family, her heritage, the arts and education.  She believed one should always be learning.
Ellen is survived by her husband, Henry Hays, of Bainbridge Island, Wash.; daughter Karen Coleman of Sitka; granddaughter, Kendra Pountney (Michael) of Sitka; grandson Jerrick Fulkerson of Juneau; and great- grandson Robert Pountney of Sitka.  She is also survived by two brothers, Fred Hope (Margaret) of Sitka,  and Percy Hope of Juneau.  She also has numerous nieces and nephews, and is survived by her dearest friends Herb and Polly Didrickson of Sitka.
A memorial service will be held later in the Fall.  In lieu of flowers, please send remembrances of Ellen to her family (c/o Karen Coleman) at PO Box 92, Sitka, AK  99835.

Building “Totem Poles”

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

 

 

Past Public Art Projects

 

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

 

“Following Our Ancestors’ Trail”

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

 

Short Visit With Preston

Glass Tlingit “Baskets” by Preston Singletary

Directly after the retreat with Sue Shotridge and Melissa Rinehart, Sue and I went to visit our friend, Preston Singletary.  For those of you who don’t know Preston yet, he’s that artist who does the Native designs on glass.  He’s got a studio in Seattle equipped with lots of glass forms stuffed in shelves, boxes for shipping, packing material and 5 employees.  The guy and his team really produce!  Holy!  —  If you are interested in doing glass, go talk to the man.  Click her to check out his website!

Preston’s studio is nearby Seattle’s Space Needle

David Svenson is another fantastic artist, working mainly in neon art living down in the mountains above L.A. – He used to live in my beloved Haines, Alaska back in the early 70s and 80s where he learned how to carve from the old masters, Leo Jacobs, Johnny Avatok and another elder whose name just slipped my tongue, dang it!  Back in the early 80’s David suggested to Preston that he begin to put the Native designs on glass – that’s the story I heard, but ask the fellows to get the sure story because I may be wrong.

Sandwiched between two favorite buds: Preston and David

What can I say about these three artists above?  Birds of a feather flock together.  I didn’t really GET that saying until I had a lovebird years ago.  My Lovebird “Kiwi” taught me many things about being human; get that…it took a bird to teach me about being human.  Hmmm…go figure.

Shelves of glass forms by Preston Singletary waiting to be completed

I wasn’t sure how Preston’s employees would feel about me taking photos of them while they were working so I didn’t.  I don’t even know how Preston feels about me posting photographs of his unfinished work on my blog in this public forum yet who gets to see art in their “naked” stages(?) nobody; I better contact him and see if it is okay to show them “naked”, incomplete.  I am proud of this guy; I feel like he’s my younger brother.   He’s got quite the dedicated group of folks; he’s a fortunate man to have these crew members.   In fact, I gotta say that I am generally proud of my fellow artists!  They have taken the leap into the “unknown” possibilities of bountiful possibilities and realities!

Sue Shotridge, David Svenson and Clarissa – in Preston’s studio

David Svenson and the glass Bear

Illustrating a Children’s Book

the first of several illustrations for a children’s book by Hannah Lindoff

Alaskan-born writer, Hannah Lindoff is writing a children’s book about a child’s experiences in putting up foods for winter from Southeast Alaska’s sea and land.   Another artist formerly born and raised in Juneau, Nobu Koch and myself are collaborating on the illustrations.  Above is an example of our combined efforts.

Under the influence of my friend, the infamous collage-artist/painter, Cecil Touchon, I began making collage about 12 years ago in 2001.  He encouraged me to take the Northwest Coast form line art and “play” with it.  I copied his technique, using similar materials and added the form line elements.  Such fun!

I am currently working on the last few collages for the book.  By the first weekend in October, I will then scan and email them off to Hannah for approval before she then emails them off to Nobu to complete image.   I am working on these collages in my studio in Colorado, Hannah writes in Juneau, Nobu is living and working in Seattle; how cool is technology that the three of us, who live miles apart, can collaborate on a project together like this?

 

Retreating to KVI Beach House on Vashon

Balls of Chilkat warp and bundles of split cedar enjoy a great view from the upper deck of the KVI Beach House in Vashon Island, Washington State

While standing inside the dining room window, I shot this image of Melissa and Sue – two strong-willed, organized, power-packed women who are still busy doing business while we make an effort to relax at this wonderful beach house retreat!

Sue Shotridge insisted that she, Mellisa Rinehart and I take a two-day retreat to this wonderful beach house on Vashon.  She INSISTED and she was PATIENT with my initial responses of “what for…?”  She had to explain that I was an extreme “Type A” personality who after taking a three-month weaving tour at my age, needed a break.  She also needed a break and she wanted to talk with Melissa and I about the logistics of hosting a week-long weaving retreat next year in September at this beach house.  We relaxed while doing business.  What a wonderful concept!  I intend on conducting business this way more often!

Melissa and Sue take photos while heading down the hillside to the beach (just a couple of stones throw away from the house)…

KVI Beach House – from the beach

close up of KVI Beach House – from the beach…

Clarissa demonstrates to Melissa how to split and prepare the wool roving for spinning with cedar bark to create Chilkat warp

I taught Melissa how to spin her own warp so that a year from now when we do the weaving retreat, she will have enough warp to do a large project or several small ones.  We spun while Sue took notes planning the weaving retreat.

Clarissa demonstrates how to groom balls of warp to Melissa, an attentive student indeed!

A perfect stage for relaxing while spinning warp for our next weavings…!

Check out more photos and information of the KVI Beach House at:  http://www.vrbo.com/408415

Stay tuned for an announcement about the Northwest Coast Weavers Retreat.  Space is limited; first come first serve.  We are gonna have a blast!

My Working Body Creates Body of Work

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

 

The “Bromley” by Head N’ Home

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/

Bogs in Alaskan Bogs

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”…

 

Fishing/Berrypickin’ Labor Day Weekend In Hoonah, Alaska

Humpback whale in Hoonah harbor

After anticipations to teach a weaving class in Hoonah were postponed until next year, I figured I would not be visiting Hoonah during this Summer’s weaving tour – however, a few days before Labor Day, my friend Margie mentioned that she wanted to go to Hoonah, and without a beat I exclaimed “When?…Let’s go!”  We made acommodation arrangements with our mutual friend, Darlene and we were on!

Margaret waits at the dock

I cannot remember when I took a vacation on Labor Day weekend, or if I had ever done one in the past at all!  Golly!  After Margie and I spent the previous week picking berries and preparing them for winter, we jumped the ferry to Hoonah!  Yaaaaah!  We are going after fish and berries!

MV Talatche docked at Hoonah Harbor – it’s for sale

Like all Southeastern Alaska towns, there are various shades of gray:  gray green, gray blue, gray white, gray black, gray yellow,…gray this and that mixed in with a bit of color here and there – the following photos will show you a hint of our color scheme here in our beloved “north country”….

Bull whips mingle amongst the kelp and seaweeds

On our way….

The dock at low tide…

Discovering color…

Darlene heads us out towards Icy Straits

Depth finder and reel

Fishing comrade…

Removing hook from the Coho…

Heading home….(notice the red bogs; Spider Woman!)

Boat 1

Boat 2

Thank you Darlene for taking us out fishing and driving around the mountain sides searching for big blueberries!  We had a great time even if it did rain all weekend!  We Alaskans know that if we waited for good weather to do anything, nothing would get done!  We are born with the color gray!

Boat 3

We brought home the salmon, marinated the strips overnight in a special “Filipino-influenced” brine, ready for the smoker!

Favorite part of smoking salmon is packing the jars before the water bath.