Jun 22, 2011 | Class Act, Latest Art Projects, Tlingit Culture Accentuated, Tools-of-the-Trade |
With left over Ravenstail warp and yarns, I wove a flexible container that straddles the headboard of my weaving loom, to help organize and keep at hand my weft yarns, scissors, straight pins, tapestry needles, measure tape, etc. - all the important tools to have handy while weaving Chilkat or Ravenstail. If you look closely, you will see the individual containers are cedar bark baskets; one woven by my mother, one woven by my daughter, one woven by a friend and one woven by me.
One of the things that I encourage my weaving students to create in their lives is organization. If we want to be an active Chilkat weaver, and we want to keep our sanity while weaving, we must be organized! If we are not born organized, Chilkat weaving will change that part of ourselves to become organized. And if we fight the requirement of becoming organized, then while weaving, we will spend quite a bit of your time sorting through things, trying to find something that was misplaced or lost, etc. When I am in the flow of creativity, the last thing I want to reach for is a tool that has been misplaced and I have to go searching for it, or untangle something or accidentally break something. This kind of act is quite disrupting to the flow of creativity; I work hard at avoiding distractions when I know I’m going into a creative groove; so I have a clean, organized surrounding. For those of you who are Chilkat weavers, for those who have recently learned Chilkat weaving and for those of you who have seen the actual weaving process, y’all understand what I am talking about!
A view from above the Chilkat weaving loom headboard container - notice most of the yarns are in front, while miscellaneous and extra tools are in the back half of the pouch
Why a “flexible” woven container instead of a rigid, wooden one? So that I can travel with it across town, across the inlet or across the continent. It is light-weight and easily packable – a valuable resource for a weaver in motion.
Stay tuned for future blog entries of additional Chilkat weaving equipment and tools.
Thank you for visiting!
Jun 21, 2011 | Latest Art Projects, Tlingit Culture Accentuated |
I immediately took this shot 2 months ago when I moved in and set up my new temporary space. Nope, I didn't plan on having the black leather loveseat match the Tibetan rug match the turquoise couch match the bench match the yellow metal set of drawers match the Chilkat robe - it "grew" organically!
One of the first things I do when I move into a space is set it up comfortably, make the space “flow” and make it aesthetically pleasing; then, I place my loom where it feels best with the natural light being one of the major determining factors for its location. As a young child, my father always encouraged me to “make it look nice.” He encouraged me to take care of my surroundings, be clean, neat, organized, tidy,…and, make it beautiful. I’m not sure if I was already born with the capacity to design and create an aesthetically pleasing, workable space, or if I learned it. But, I enjoy creating spaces. I’ve even helped some of my friends’ do remakes in their homes. It’s fun. And a funny thing, every time I am designing or re-designing a space, I think of my father’s words.
The Chilkat robe on the loom is called “Jennie Weaves An Apprentice” – it is a tribute the apprenticeship with my weaving teacher, the late Jennie Thlunaut from Klukwan, Alaska – it’s the first of my series of robes I call “A Robe Within A Robe.”
Jun 20, 2011 | Latest Art Projects, Tlingit Culture Accentuated, To Market To Market |
A "Catabiense Alba" rhododendrun blooms outside the window overlooking mountains and water. My latest painting: "Jennie Weaves An Apprentice" an acrylic on canvas, is part of a series with this design as its base. It is also the "pattern board" for the Chilkat robe I am presently weaving and intend to complete by mid-July!
I’ve been a privileged girl all my life. My basic needs have been met. I’ve had a roof over my head, decent food to eat, wild water to drink, and nice clothing if I want (but now I’m stuck on black sweatpants over the past 8 years and nobody can get me out of them!). No matter where I have lived in Juneau, there is always a beautiful view because it is just about impossible to not have a view of mountains, meadows, trees, a river, creek and/or the ocean. Although the past two years have been a challenge and I’ve struggled to maintain my basic needs, I am quite blessed with having a wonderful view while I am painting my next 6 original paintings on canvas and new collages. Like what more do we need when we’ve got astounding views to create by, right!?
Painting in the kitchen studio - only for another month, then it's time to move again...("pack it in, pack it out - pack it in, pack it out...")
I am planning on creating a series of 4 to 6 original acrylics on canvas with the same name as above, but numbered in sequence of their creation. Each one will have the foundation of the Chilkat robe pattern board, but a completely different painting. I’m excited about doing this series of paintings. I’ll have one of them for sale during my first show (ever!) at the Stonington Gallery in Seattle, opening September 1st. The others I am hoping I will have completed by the Santa Fe Indian Market August 20-21st.
Jun 19, 2011 | Latest Art Projects, Ravens & Eagles, Tlingit Culture Accentuated |
Drafting up a traditional Chilkat robe based on an old one. This one I call the "Lovebirds Diving Whale."
I’m working on a couple of Chilkat robe designs. One I just completed as part of my “robe-within-a-robe” series for a collaborative project with another artist; the other robe design is this one above. This design is a “diving whale” with an Eagle and a Raven, the Lovebirds. This is a draft of the robe I am preparing to weave, yet I am having second thoughts about re-doing the design so that it goes along with my “robe within a robe” series. My Chilkat robe-within-a-robe series are designs where there is a smaller Chilkat robe within the main image of the Chilkat robe. I have almost completed my first Chilkat robe within this series; it is called “Jennie Weaves An Apprentice.” The deadline for the completion of this robe is mid-July – however, I have been predicting the completion of this “Jennie Weaves” robe for the past two years; so what makes me (or others for that matter) believe me when I say it’s gonna be done by mid-July, huh?
Jun 11, 2011 | Honoring Others, To Market To Market |
Three robes grace the work space of Silver Cloud Art Center in Haines, Alaska run by Cherri and Wayne Price who hosted a Chilkat Weavers' Retreat in April 2009 - Darlene See (Hoonah, AK) quietly works on her Chilkat robe
How many of you know about Evergreen Longhouse? I do not remember how I found out about them, but two years ago, I received a couple of grants from them that helped support my travel to two projects that I spearheaded: 1). the Chilkat Weavers’ Presentation and Demonstration at the 2009 Clan Conference in Juneau in March, and directly following the demonstration was the Chilkat Weavers’ Retreat in April in Haines, Alaska; and 2). the purchase of warp yarns to begin my 6th robe, a combination robe of Chilkat and Ravenstail.
Chilkat Weavers' Retreat participants included (L to R): Clarissa Rizal, Darlene See, Bev Morris, Patrice DeAsis, Alice (obscured), Debra Michel, Isabelle, Lily Hudson and Ann Smith - the men in the background are Wayne Price (project host) and Brian Walker (Ann Smith's husband)
“The “House of Welcome” Longhouse Education and Cultural Center is a public service center at the Evergreen State College. Built in collaboration with Northwest tribes, it is the first building of its kind on a public campus in the United States. The Longhouse is a multi-purpose facility, able to serve a variety of educational, cultural and community functions. Founded upon a vision of hospitality and service, it is a gathering place for people of all cultural backgrounds to teach and learn with each other.
The Longhouse’s public service mission is to promote indigenous arts and cultures through education, cultural preservation, creative expression and economic development.”
Chilkat Weavers' Demonstration at the 2009 Clan Conference in the lobby of Centennial Hall in Juneau, Alaska
The Longhouse is mainly run by a team of three women, Tina Kuckkahn-Miller, the Executive Director; Laura Grabhorn, Assistant Director and Coordinator Bonnie Graft. I met Laura during our 2008 Northwest Coast Artist Gathering during Power Point Presentation of Artists and Arts Organizations (see sponsoring organization Artstream Cultural Resources). I am totally impressed with the staff of this organization and what this organization has done for the Native artist, and their communties. Over the past two years, I’ve encouraged many Native artists to visit the Evergreen Longhouse’s website and apply for the two types of Native Artist grants they have to offer. Click here to visit their website.
Weavers Kay Parker (Juneau), Lorene Hanlon (Seattle), and Debra Michel (Atlin, B.C.) during the Chilkat Weavers' Demonstration and Presentation at the 2009 Clan Conference, April, Juneau, Alaska
Jun 10, 2011 | Class Act, Tlingit Culture Accentuated |
Strips of sap-free cedar bark in the foreground - students braving an adventure of spinning Chilkat warp!
Sunday night, a few hours after the tail end of the 1st Annual Yakutat Tern Festival, 18 women began to learn the art of spinning Chilkat warp of yellow cedar bark and merino wool. Traditionally, we use mountain goat wool, however, mountain goat wool is a rare find these days and merino wool is the closest fiber to match that of the mountain goat. The class began at 6pm and was only supposed to be 2 hours, but we didn’t get out of the classroom until 11:30pm that night when Evelyn finally broke the spell and said: “Gee, I’ve got to go home now…” Suddenly, all of us realized it was way past our bedtime! That’s what happens when we’re having too much fun!
A class of 18 students making their first attempts at spinning Chilkat warp - L to R: Carol Pate, MaryAnn Porter, Angel Harry, Evelyn Dierick, Carolyn Donohue, Eva Sensmeier, Victoria Demmert, Lois Dworshak, Yvonne Baker, ,Anne Pollnow, Shirley Cain, Joy Klushkan, (Maka Monture & Alison Bremner obscured), Judy Ramos, Penney James, and Gloria Benson
Some of the students are weavers of Ravenstail learned from Cheryl Samuels who revived the art of Ravenstail weaving back in the late 80’s. Ravenstail warp is not spun with cedar bark; Chilkat warp is. Someday, these students want to learn the art of Chilkat weaving, and with the eagerness of learning how to spin their own warp, I can tell these women will be persistent about learning Chilkat weaving.
Thin strips of yellow cedar bark ready to spin with the wool - silky when wet, rough when dry
L to R: Joy Klushkan, Maka Monture, Alison Bremner, Judy Ramos
The youngest student in the class, Angel Harry, organizes her strips of cedar bark and her wool roving to prepare for the next step - the actual spinning on her thigh!
Many thanks to MaryAnn Porter who helped organize this event and brought the class members together, to Carol Pate for the use of her Home Economics classroom and to all the students who braved the adventure of spinning Chilkat warp!
Jun 9, 2011 | Adventures of Rear-Mirror Rissy, Health and Wellness, Honoring Others, North Tide |
Harry K. Bremner, Sr. and Clarissa - Yakutat airport - April 1975
For the first time in 1975 upon an invite to see what Native elders called “the land of milk and honey”; I went to Yakutat to visit “Grandpa” Harry K. Bremner, Sr. (In an upcoming blog entry, I will write about the influence of Grandpa Harry in my life). Take note of the above photograph; the airport road is newly-paved and the trees are so much shorter than what they are today! — for those of you who are wondering where the heck is Yakutat, Alaska, look at a map of Alaska, find Anchorage, then locate Juneau and look about half way in between the two and you will find Yakutat on the coast, right up there with the big Malaspina Glacier. Pretty awesome! As most of you know, Alaska is Alyeska, the Great Land! And we Alaskans are proud of our country!
June 2011 – It’s been 36 years since I set foot in Yakutat. Upon an invite by my friend Jan the traveling accupuncturist, and a reminder from my friend Preston who was guest speaker at the 1st Annual Yakutat Tern Festival this past weekend and, since my children and grand-children all flew south to attend their other grandparent’s family reunion, and I’ve gone through some heavy-duty, non-stop, life-changing events over the past three years, (golly!) I decided it was high time to take some R&R and visit Yakutat again! Yet, as usual I had to do something to offset my travel costs, so with the support and assistance of Walter and MaryAnn Porter, I taught a class in spinning Chilkat warp. (For those interested in the cedar bark class, look for the blog entry recently posted “Spinning Chilkat In Yakutat).
The following photographs are the day trip to the biggest beach I’ve ever seen that runs North/South called Canon Beach:
As we approach Canon Beach, we pass over a waterway of lily pads
As we came across this bridge and saw this view of the pond, I remembered the swans we saw here in 1975 – it was the first time in my life I had ever seen swans. And since then, every time I see swans, I have thought of this place here in Yakutat.
36 years ago, we had lunch with Grandpa Harry in this spot - it was a good feeling to be here again!
I have a few more photos taken back in 1975 during my visit in Yakutat; I’m not sure where they are, but I’ll have to do some investigating! I want to include them sometime sooner than later.
Boogie Boarders skim the shore's wild surface of icy cold Yakutat waters - I tell ya, if I were 16 again, I'd be out there boarding - so much fun!
The very first time I had ever seen big waves like these were in Yakutat at this beach in ’75. Then a few years ago, I had heard that surfers came from around the world to surf this beach. We’ll yeah, man!
Although there were none today, surfers from around the world ride Yakutat waves
Sand Texture - I remember the beach sands being whiter, hmmm...I'm going to have to find those photos from 36 years ago and compare!
I swear - in Yakutat, there are more eagles riding the rip tides of the wind than there are seagulls!
Laying on the beach and admiring the textures of the sky while a lone comber goes to that place of meditation where water meets shore
Had to go find out what that thing was over there...(?)--Obviously something that didn't make it back afloat!
A rotting barge adds rustic color as tides ebb and flow
"Windows" of the sea
A lone pebble
When the tide goes out, there are thousands of small, polished pebbles on this beach. It was odd to find one all by its lonesome.
Like I did 36 years ago, I will be taking memories of the land and sea, yet this time, with little pebbles for little grand-daughter hands in Colorado
You are probably wondering where are the photos of the actual village of Yakutat? Well, when I post the blog entry about Harry K. Bremner, Sr., I will include a few shots of the village. Stay tuned.
Jun 8, 2011 | Latest Art Projects, Tlingit Culture Accentuated |
Nice heavy-duty pressure cooker
Cedar bark basket weavers need not cook the sap out of the bark as part of their preparation of their materials. Those who are Chilkat weavers need to cook the sap out of the cedar bark before spinning the bark and wool to make their Chilkat warp. In the olden days, a large pot full of water filled with cedar bark strips was placed on a fire outside. The water boiled for an hour or two, then dumped and clean water added and brought to a boil. This procedure continued for a week until there was not a whole lot of sap mixed with the water. This is a long procedure; I did it this way for several years until (the late) Agnes Bellinger, daughter to my weaving teacher (the late) Jennie Thlunaut, taught me how to do it the modern method:
1) With a paper towel, rub the interior and the lid of a large pressure cooker with vegetable oil; 2) Fill the pressure cooker with 2/3 water; 3) Add just enough cedar bark strips to fit into the pot comfortably – do not stuff the pot full; 4) Cover, bring pot to a boil – let boil at 10 pounds pressure for at least one hour, at the most two hours; 5) Release steam; 6) Open lid, let cool down up to an hour; 7) Find a place outdoors where you do not mind sap water being dumped. Do Not dump sap water on your lawn, in a flower bed or where trees (other than cedar) are growing. NEVER dump sap water down your drains or in the toilet. Follow these procedures…
Strips of cedar bark awaiting to be lifted out of their sappy water
With a stick, lift out cedar bark strips from the sap water and place on news paper. (Note: if you use paper towels, there will be a tendency for the paper towel to stick to the bark).
Rule of Thumb: Always take the bark out of the water before dumping the sap water.
Lifting cedar bark out of the sap water
Find a place to dump the sap water. Do Not dump sap water on your lawn, in a flower bed or where trees (other than cedar) are growing. NEVER dump sap water down your drains or in the toilet.
Dumping sap water
8) With a paper towel or rag, immediately wipe all the sap residue from the interior of your pressure cooker including the lid – then wash with pressure cooker with soap and water
Your cedar bark should be free of most of its sap, ready to be split into fine silky strips for spinning with wool to create Chilkat warp.
9) Store your bark in paper bags; never plastic bags nor plastic containers unless you know for sure that your bark is completely dry.
Happy sappy-free bark!
May 14, 2011 | Latest Art Projects, To Market To Market |
the painting and collage-making studio- prepared for production
After nearly 9 months of blogging, I’m taking a break for awhile. It’s a lot of time to post 2 or 3 topics per week. I will not make that kind of time until a few things pass, including: wedding preps to attend to, family matters of life and death, a Chilkat robe to complete, and create stock for two upcoming markets (one in Seattle, the other in Santa Fe); and not to mention other odd jobs I have to do in order to pay for immediate bills and art supplies. So something had to give, something had to be eliminated in order for me to complete these things…so blogging was it.
I’m still capturing photos of various events. I’ll post them when I can. Thank you for visiting.
May 6, 2011 | Acting Out and Musical Chairs, Poetry Alaskan |
10am Saturday - let the fair begin...! (High school art teacher, Miah Lager's "collage poetry" booth) Notice the banners, they are made of collage materials
The Canvas Community Art Studio and Gallery hosted the first “Poetry Block Party” street fair last Saturday, April 30th beginning at 10am to 3pm. They received permission from the City & Borough of Juneau to close off Seward Street between 2nd and 3rd Street (which is where The Canvas is located). The theme of this year’s block party (as they may continue as an annual event), was the writing of poetry through artistic means, whether it be the written word, visual arts, or performing arts.
Miah demonstrates the collage-making "poetry"
Most of the businesses within 2nd/3rd Street block (and 2 blocks down or around the corner) participated in the event. They include Silverbow Bakery where you could participate in the “Baking” Haiku Contest; Big Brothers/Big Sisters poetry chain; Nana’s Estates theme hats; Capital City Weekly’s found poetry; The Plant People poet tree; Copy Express fill in the blank poems; Juneau Public Library Haikubes (“Scrabble” poetry), poetry books, library card registration and prize raffle; The Canvas word necklaces, mixed media poetry paintings, window word painting and crazy quills; Art Photography write photo-inspired poetry; Memuluck Furs beading and sewing; CHOCO in the REACH window “Tailored Words” poetry through fashion; Nail Jazz airbrushed temporary tattoos; Wells Fargo coin toss poetry; Nana’s Attic decorate hats and visors with the Hat Lady; K3Radio/UAS Media Club record poems to be read on the radio and turn in Scavenger Hunt cards for prizes; Juneau Arts & Humanities Council sidewalk chalk art contest; Hearthside Books receive 15% off all Poetry Books during the Block Party; Jewel Box drop off a “proposal poem” by 3:00pm for a chance to win a Jewel Box gift certificate; and DJ Manuel music all day, freestyle session.
Sidewalk/street art
Creating poetry writing wands
Love and friendship bubbles
The DJ played awesome tunes...especially for hula hooping
The street fair also included activities for adults...!
Performances throughout the day included the Hula Hoop Collective, Free-style Session with DJ Manuel, Spirit Lodge Drumming, The Kinetics (hip hop dance group), and Open Mic hosted by Woosh Kinaadeiyi Poetry Slam.
There were a few food vendors including the "Urban Eskimos" Gallery selling Kettle Korn and the classic Cotton Candy
Restaurants and food vendors included: Silverbow Bakery’s beer garden; Chef Stef word cookies; Lola’s Filipino BBQ and desserts; Wild Oven organic artisan bread; Glory Hole alphabet soup; Pie in the Sky trade an original poem about pie for a free cookie; and Urban Eskimo kettle korn.
Painting body poetry
"Scrabble" poetry - roll the words and create a line of poetry (as seen in the photo below), then write your line down on a paper "leaf" and tie it to the tree for everyone to read...
An example of a line created from Scrabble poetry...
For more information on the Canvas Community Art Studio & Gallery in Juneau, visit their website at: http://www.canvasarts.org/
May 3, 2011 | Health and Wellness, Honoring Others, Tlingit Culture Accentuated |
Baskets waiting to be filled with treasures from the Easter egg hunt...
SikiKwaan with a filled basket in front of the St. Nicholas Russian Orthodox Church
I’ve taken our church for granted; that’s a normal thing they say cuz I grew up with this church and we all take things for granted that are a part of our everyday experience. Even so, that’s no excuse.
I had not ever really appreciated the full beauty of our Russian Orthodox Church (http://stnicholasjuneau.org) in Juneau until a friend, who was brought up in the Catholic Church across the street, had attended my brother’s memorial service a few weeks ago, commented on the beauty of the ceremony. “So I got to thinking about it…” (A statement that our elders would say when they contemplated…) The following are some of my thoughts on the subject of our unique beauty of our church:
Inside the church - view left
What church in Juneau is over 100 years old, and was built at the request of the Tlingit people in this area who helped actually design and build their church? What other church in Juneau has this kind of history combined with the elegance of the original paintings on canvas of those over 100 years old along side recent modern ones? Who else in town has a round church? Who else still burns untainted incense and burns hand-dipped beeswax candles during every service? Who else wears the traditional embroidered garments and robes during every service and wear crowns during significant ceremonies? Who else decorates their alter with satin cloths and real flowers? Who else serves actual wine and fresh-baked unleavened bread for communion? Who else has the congregation stand during the entire service of 2 hours? (Actually, there are chairs for those who need to sit.) What other church in Juneau has respected the Tlingit traditions for over 100 years and continues to integrate some of those traditions with the Russian Orthodox ways of doing things? AND who else sings traditional chants in 3 languages of Slavonic, Tlingit and English!?
Holy! After I got to thinking about all these things, I realized we’ve got one heck of a church that stands out amongst all of them in this community!
Inside the church - view right, where the choir stands
You would think that this being a unique church just in its visual richness and cross-cultural integrations, there would be more folks attending. Yet, not. As the elderly Native folks who were baptized many years ago pass away, and technology has shaped us over the years to have an attention span that requires more “entertainment” as long as it is short-lived, most folks do not have the patience to stand for almost 2 hours during a ceremony. If so, we have been conditioned into being “rewarded” with something if we are going to “suffer” through 2 hours of standing! Holy!
SikiKwaan finds another treasure!
Tichnon has filled his basket he handmade himself!
Directly after the Easter Sunday services, the church shared a potluck meal with traditional foods of Russia and Alaska Native - we've got the best of both worlds for more than one hundred years! -- Father Simeon cuts the roast lamb
Our traditionally-favorite Easter bread "kulich" - this loaf was made by Nora Dauenhauer - she has one of the best recipes!
Come visit our church; open your mind to another experience unique to this area. Stand for yourself and with all those around you. Show yourself that you have the discipline to stand and can pay attention and be alert to the life and love around us. It is true not all in life is rosy; not all is comfortable. However, when we stand up for ourselves, we gain an inner and outer strength; if you need a “reward”, let this be enough reason. Here’s an open invitation to come stand with us and share an inner and outer elegance.
Apr 30, 2011 | Class Act, Honoring Others, Latest Art Projects, Tlingit Culture Accentuated, To See or Not to See, Uncategorized |
The following is my Finals Project for my Art Appreciation online class this semester with the University of Alaska Southeast with Professor Karen Meizner from Sitka/Haines. We were instructed to create our own online museum exhibit, with at least 12 works of art. (In my opinion, it’s like we are playing “curator” of the exhibit, oh boy!) With the guidelines kept in mind, I explain my choice works of art, why the works are appealing, and how it affects my personal and/or business life, and my personal “vision.” I describe the relationships these works have with each other and why I have placed the particular objects near or far from each other, including descriptive labels (for the imaginary exhibit and in this case, for my virtual audience), and what I expect my audience and I will gain from this exhibit.
A full-time artist for almost 35 years, I have worked in a variety of mediums, most recently painting and collage. Throughout the years, naturally I have been inspired by a variety of artists such as Haida artist Robert Davidson, Tahltan Tlingit artist Dempsey Bob, Haida artist Delores Churchill, and Tlingit Chilkat weaving teacher Jennie Thlunaut. These artists helped set the traditional foundation of my work from which I sprang into creating contemporary works. In the late 1990’s I began to dabble in painting and collage, introduced by my friend and artist, Cecil Touchon. I have worked in the style of Tlingit Northwest Coast form line art in silkscreened images, Native ceremonial regalia in Chilkat and Ravenstail weavings, button blankets, and cedar bark weaving. Cecil’s cubist-style works were inspiring and encouraged me to take a leap into creating cubist-influenced Northwest Coast paintings.
This exhibit leads the viewer to experience the influences of Tlingit and Western cross-cultural blends and the influence of other artists’ work in my present day work featuring 5 contemporary pieces. I feature seven artists 2 works each who have, and continue to, influence my present-day and future work. Six are presently living, some of which I personally know; others include colorful works by German Cubist nature artist Franz Marc (1880-1916) and I aspire to create works incorporating the style of South American artist Teodoro Reque Liza, where I want to learn how to bring more fractured light and geometry into my paintings and collages. Innovative Tlingit glass artist Preston Singletary introduced the glass medium to Native American artists; Nick Galanin also followed suit by introducing computerized digitally-cut masks made from books and Paul Bond’s oils on canvas paintings portray the spiritual essence and livelihood of human kind. As I mentioned earlier, this exhibit is an example of how a variety of other artists’ work influenced my becoming a contemporary painter.
What do all these artists have in common? 1) Vibrant color, textures and obvious fine talent; 2) Leading edge as a pioneer in their style during the time they “came out” of the woodwork; 3) Courage to experiment and put themselves out there; 4) A sense of playfulness included with a level of spirituality; and dedication to their families, work, community and nation.
I also include a sketch of the floor plan design for the exhibit. The works of art is displayed in a simulated traditional clan house, with the opening at one end, and the triptych painting serves as a “house screen” at the opposite end. Three levels of wood flooring step down to the simulated “firepit” in the center of the room where the “smokehole” (skylight) cast natural light onto the firepit. Additional track lighting casts beams of light criss-crossing the main shaft of natural light from the “smokehole” above. (See exhibit floor plan shown below for more detailed information on exact exhibit layout and lighting design.)
Welcome to my exhibit where I honor those who have helped lead me to where I am today as a traditionally contemporary artist, and the direction of where I wish to go with my imagery. I also include links to view the other artist’s websites. I present you the artists and a small sampling of their work. – Thank you for visiting.
"Hoisting Our Dreams Into the Light of Another Sun" by Paul Bond - 36" x 48" oil on canvas - 2011 - inspired from a line from a poem Paul wrote: "Ladened with the weight of a thousand squandered opportunities, we hoisted our dreams intot he light of another sun." It is about the dichotomy of our dreams as both the burdens, as well as the things that make our lives worth living. Every one of us has unrealized desires. When they are ignored or not followed out of fear that we cannot achieve or don't deserve them, our lives are tethered to an unfulfilled burden. On the contrary, when we pursue those dreams they immediately lift our spirits and give new meaning to our lives in unimaginably miraculous ways."
"Birthing A New God" - Paul Bond - oil on canvas - 48"x48"
Paul Bond’s images can evoke immediate responses of happiness and mysterious wonderment putting the viewer in touch with the spiritual aspect of life creating a pure communication between artist and viewer. His painterly style is similar to Norman Rockwell yet Bond incorporates symbolic images with less components in the overall composition. I have kicked myself time and again when I once had the opportunity to purchase an original painting when I first met Paul in the late 1990’s in Colorado during a dinner party for local artists in the area. For larger views of the above images and read about Paul, please visit his website at: www.paulbondart.com
"Blue Horses" - Franz Marc - oil on canvas - 1911
"Rain" - Franz Marc - oil on canvas
Cubist artist Franz Marc was born in Munich, Germany in 1880. He is best known for the intense nature mysticism of his colorful oil paintings of animals. Marc’s “Blue Horses” is one of my favorite images with the powerfully simplified, rounded outlines of the horses echoed in the rhythms of the landscape background creating a unified composition. I was first introduced to Marc’s work when I visited a museum in New York City and was struck by his magnificent original painting, “Stalls.” I immediately bought a book of his work; Franz Marc inspired me to paint! A few years later, for an art class painting assignment, we were given the task of reproducing our favorite artist’s work on canvas. I chose to paint “Rain.” In the process, I learned so much about cubist design concept, choice and blending of colors, how to create textures and to play with technique to evoke emotion and mystery.
"Fusion Series 3054ct11" - Cecil Touchon - mixed media collage - 7"x5"
"Fusion Series 2999ct10a" - Cecil Touchon - 2010 - mixed media collage - 8" x 12"
Cecil Touchon mixed-media collages employ the use of new and antique papers and posters, maps, reject art prints and antique scripted ledgers, with a touch of color pencil or paints for shading and depth. His bold, graphic style and playfulness lends one to believe that “hey, I can do this too!” (it worked on me…) – and this is the basis of his intent; he wants to show the world that what he can do, anyone can do too and actually make an income! Cecil also works in acrylics on canvas, sometimes painting very large murals in a modern cubist style. He recommends artist create at least one piece of art per day even if it is just a simple sketch; it is part of his philosophy and the way he sees it, you just never know when the work will eventually put the bread and butter on the table. It was Cecil’s encouragement with my first painting lesson that led me into the world of becoming a painter. You may visit Cecil’s extensive website at: www.ceciltouchon.com
"Subtle Forms II" - Teodoro Reque Liza - oil on canvas - 39.4" w x 31.5" h - 2010
"They're Off" - Teodoro Reque Liza - 28.7" x 46.5" - oil on canvas - 2010
Teodoro Reque Liza’s work invokes a “coming home to” emotion with spirituality. It’s as if his paintings reflect a world that actually exists all the time, we are just not aware of it like this painter. He definitely employs a simple graphic sense profound in color, tones, hues and shafts of light – always with shafts of light! Each image has a focal point, a vantage point or a horizon, simple in context and composition yet powerfully moving. I discovered Teodoro’s work on line as I was roaming the internet (which I rarely ever do) to see what other modern cubist-influenced artists are out there. Teodoro is from the land of the Andes. His images reflect the cross-cultural influences of this modern day. Yes, I aspire to meet this artist one day as I aspire to learn more how to paint in his style.
"What We Have Become" - Nicholas Galanin - book pages - 2008
"Imaginary Indian" - Nicholas Galanin - porcelain, wall paper, red cedar bark - 2010
Nick Galanin is one of the few young, Northwest Coast Native artists who is taking the art form style into another dimension and modality. Strong in his quiet and modest mannerisms, his work always twists the minds of fellow artists, the Native community members, collectors, gallery owners and museum staff. His work is true to Northwest Coast style and form combining traditional materials with non-traditional as in the mask made with book pages or the use of wall paper. Nick was one of our artist panel speakers at our Northwest Coast Artists’ Gathering 2008 in Juneau, Alaska. His manner of speaking is as eloquent as his works in any medium he works. You may visit Nick at: www.nicholasgalanin.com
"Oyster Catcher" - Preston Singletary - 20" - 2005
"Bentwood Box" - Preston Singletary - approximately 28"w x 20"h x 11"d - 2004
Back in 1980, Preston Singletary’s glass “cedar hat” hit magazines and newspapers throughout Alaska and Washington State. He takes traditional art forms and creates them in glass. Nobody had ever done this before. Like Galanin, he too has expertise in the traditional form line art as well as the medium he chooses to work; his design work always has a story to tell – the process of how he creates his work, in itself, is always a story to tell! Preston’s glassblown images reflect the innovation of modern-day influences using a modality not customarily traditional. The photographs of Singletary’s work is a work of art in itself with the directional lighting casting shadows where need be to provide the viewer the depth of the “carved” surfaces of the glass work. You may visit Preston’s work at: www.prestonsingletary.com
Below are all works completed between 2000 – 2005. They are my very first paintings on canvas (except for the traditional button robe which is shown as example of traditional art inspiring the contemporary painting). Again, the intentions of including my works in this exhibit is to show my audience the variety of influences from other artists.
"Emergence" acrylic on curved canvas - Clarissa Rizal - based on button blanket robe of the same name - 2000
"Emergence" button blanket ceremonial robe - wool appliqued on wool w/mother-of-pearl buttons - 1992
"Totem Theory I & II" - acrylic on canvasses (there are two identical) free-standing "totem pole" - Clarissa Rizal - 6' h x 28" w - 2001
"Tlingit World Series (TWS) #052 - Clarissa Rizal - mixed media collage - 7"w x 9" h - 2001
"An Ocean Runs Through Us" triptych acrylic on canvas - Clarissa Rizal - 30"h x 10' w - 2005
As stated earlier in this post, below is the floor plan layout for the exhibit. The works of art is displayed in a simulated traditional clan house, with the opening at one end, and the triptych painting “An Ocean Runs Through Us” serving as a “house screen” at the opposite end flanked by the two totem poles “Totemic Theory I & II”. Three levels of wood flooring step down to the simulated “firepit” in the center of the room; the firepit is represented by Preston Singletary’s yellow “bentwood box”. The above “smokehole” (skylight) casts natural light serving as a spotlight for the art in the center of the room; additional track lighting casts beams of light criss-crossing the main shaft of natural light from the “smokehole” above; the criss-crossing of the light reflects the cubist-style paintings of shafts of light and color. The “Bentwood Box” firepit is surrounded by Singletary’s “Oyster Catcher”, Galanin’s Raven mask and book pages mask, each set on pedestals. On the walls are the paintings and collages by the other artists. Each painting is lit by an oil candle resting on a small shelf just below the painting. Here’s the floor plan layout:
Exhibit Floor Plan of the Simulated Clan House - color coded... Violet: Paul Bond - Green: Cecil Touchon - Blue: Franz Marc - Red: Teodoro Reque Liza - Orange: Nicholas Galanin - Yellow: Preston Singletary - Gray: Clarissa Rizal
Thank you for imagining this virtual exhibit with me, and thanks for visiting!
