Mar 25, 2011 | Honoring Others, Tlingit Culture Accentuated |
Local silversmith, Ed Kunz presents his silversmithing and carving at UAS - Juneau campus
Last Thursday, March 17th, Ed Kunz gave a presentation on silversmithing and carving at the University of Alaska Southeast Juneau. The presentation is part of the “Art of Place” artists series. Son of the late Ed Kunz, Sr. and Cecilia Kunz, Ed began carving while living in Haines. His mentor was the late Ed Kasko. Although most silversmiths use an engraver’s block, Ed uses a wax to hold the strip of silver to a modest-sized, wooden board. When he began engraving the Tlingit design into the silver, he said he wanted an engraver’s block like he’d seen other silversmiths use, but with all of its accessories it came close to $100; then a few years later when he thought he could afford finally afford an engraver’s block, the price had risen to almost $500 so he said forget it.
Gold and Silver bracelets carved by Ed Kunz
ANS (Alaska Native Sisterhood) pendant carved by Ed Kunz
Ed has made many pieces of jewelry for his wife, Percy Kunz like the bracelets and pendants above. He usually works on a commission basis and sometimes does trades. I was real tempted to ask Ed if he wanted to trade a small Chilkat bag for one of those gold bracelets. Both of my parents liked jewelry and they both liked gold. I would have a golden bracelet in honor of my parents. Someday.
Ed's simple tdools of the trade
These are pretty much the two carving tools that Ed uses
Ed shows carving tricks-of-the-trade to UAS student assistant Justin
A reminder from the coordinator of the “The Art of Place” artists’ presentation, Ernestine Hayes: “Hello to all with a reminder that wood-carver Doug Chilton will be our visiting artist for our Spring 2011 Art of Place series tomorrow, Thursday March 24, beginning at 10:00 with a talk and discussion by the artist and a dessert potluck at 11:30, with an opportunity to meet and greet Doug over cake and coffee. The event will take place in the Glacier View Room.
On Thursday April 7, we will be visited by Florence Sheakley, who will share her knowledge on beadwork and button blanket-making and show some of her work (including a button blanket she made for me).
Please come to one or both events, and please remind your friends, students, and neighbors to come as well. We really appreciate your support for this important series!
Finally, please remember that our last event will take place on April 21 with Helen Watkins, and will feature a full potluck. We’re hoping for herring eggs! Gunalcheesh!
Coordinator Ernestine Hayes thanks the audience for coming out and supporting the artists!
Mar 16, 2011 | Health and Wellness |
This Winter was one heck of a COLD one!
How many of you shoveled snow all Winter? How many of you brought out the long johns, thick fleece, sheepskin and fur? How many of you kept the fire stoked consistently? How many of you carpooled cuz your car was stuck or wouldn’t start? How many ice skated, skiied, sledded, snow-shoed? What a Winter!
Clarissa digs shoveling snow cuz she misses her gardening season!
Spring is around the corner, the Equniox is in just a few days with even days and even nights and there hasn’t been any rain.
Winter is a good time to do art - like the Tlingits knew how to handle winter - Clarissa does most of her work during the Winter, yet on occasion she gets her exercise!
The best part about being an artist is the freedom to create in any line of "work!"
Mar 9, 2011 | Honoring Others, Showing Off, Tlingit Culture Accentuated, Uncategorized |
A painting of Eileen Wagner weaving a cedar bark hat
A couple of weeks ago, Della Cheney contacted all of us who have attended the Sunday afternoon gathering of artists at Fireweed Place. She said that the group was invited to display any of their work in a show down at the Juneau Arts and Culture Center. When she asked Fausto and I to help set up the exhibit last Thursday night, I figured we’d have a few things to show – little did I know we would fill up an entire room! And little did I know that I had anything to show until Della asked me to show some of my paintings and prints. Ha-eh!?
Cedar bark hat in display unit by Eileen Wagner, cedar bark baskets by Della Cheney, Chilkat leggings on loom by Fausto Paulo
We were also invited to demonstrate whatever projects we may have on our looms and hat forms, so about 9 of us showed up, set up tables down the middle of the exhibit room and demonstrated the weaving of cedar bark hatbands, baskets and hats, Ravenstail pouches, leggings and bags, and the weaving of a Chilkat robe.
Juneau Arts & Humanities Director, Nancy DeChurney talks with Della Cheney about this evening's Gallery Walk exhibit
There is a feeling of cooperation and inspiration as we all work individually on our own projects sitting side-by-side with a kind of quiet companionship, the stuff that is made of long-term relationships that will most likely last a lifetime whether we are conscious about our efforts or not.
Patrice DeAsis weaves a cedar bark hat while coils of cedar bark soak awaiting to be stripped
Debra O'Gara and Kendra Makaily enjoy Ricky Tagaban's Ravenstail weaving made of plastic garbage bag strips. In the display case are Percy Kunz's first Ravenstail weavings
The beginnings of a small Chilkat robe by Nora Dauenhauer, a pair of Chilkat leggings and Chilkat by Patrice DeAsis, "Totemic Theory" acrylic on canvas by Clarissa Rizal, a pair of moccasins by Percy Kunz, and button blanket bib by Mary Ebona Miller
Percy Kunz weaving a small cedar bark basket - her pair of sealskin and moosehide mittens are in the foreground - Fausto Paulo's cross-stitched Chilkat tunic is in the background
Della Cheney explains her robe design to Melinda Cavanaugh - Fausto Paulo to the left concentrates on his latest Ravenstail weaving
With assistance from his mother Lorraine DeAsis, Joshua prepares cedar bark strands for weaving by running the bands through the "stripper"
Armondo DeAsis and his brother Antonio, are weaving another round of cedar bark headbands
Folk Festival president Greg McLaughlin with wife, Lis Saya and inventor, John Ingalls hang out enjoying all who attended the exhibit
Irene Lampe and her son, Richard, are excited about "digging in" to the wonderful refreshments
Thank you to all who came out on this cold, slightly-blustery evening and joined us for a round of pleasant artistic company and a bite to eat.
Mar 8, 2011 | Honoring Others, Latest Art Projects, Tlingit Culture Accentuated |
Archie Cavanaugh with grandson, Joseph, and Clarissa who is proudly displaying Archie's latest two CD's "Love Birds" and "Alaska Jazz"
Tlingit Singer/Songwriter/Jazz musician, Archie Cavanaugh launched his latest CD titled “Alaska Jazz.” The past two days, I’ve been Chilkat weaving to “Alaska Jazz” along with Archie’s second CD “Love Birds”. The wonderful, upbeat, jazzy, loving energy of these two albums are the perfect sounds for me to Chilkat weave; I kid you not! I can go long stretches of time weaving happily away to cuts like “Sparklin Eyes”, “Amy” and “Love’s The Way” just to name a few. I mean like, I had to move my Van Morrison over for the past few days. I just want to hear Archie. The problem is that Archie has only three albums, and so the repetition is starting to get to me. What to do about it? Encourage Archie, help Archie, assist Archie, in any way, shape or form, to put together another album! In fact, go to his website and buy all three of his albums. This guy has got to catch up to the numbers of albums Van Morrison has put out, that’s all there is to it!
Check out Archie’s album cuts on his website at: www.archiecavanaugh.com
Mar 7, 2011 | Class Act, Tlingit Culture Accentuated |
A view of Dinah Hobson's "office" which is used for subjects pertaining to "Indian Studies" which is where I did my presentation - notice the "button blanket" backdrop for the Native news clippings, etc.
Like they are “just” high school students, duh? Why the heck would I be so nervous in front of them? Like I’ve done presentations and performances to audiences of up to 2000 total strangers; why would I sweat over presenting my life’s work before 13 kids in 9th, 10th and 11th grade who are part of the “early scholars” group? – Well, it’s like this: have you ever kept Jr. High and High School kids from being bored?
High school teacher, Karina Reyes and Clarissa meet for the first time; she asked about the last name of Rizal, like is Clarissa related to the Filipino martyr Jose Rizal? The answer: Yes. He was cousin to Clarissa's paternal grandmother, Patricia Rizal Lampe. Rizal was Clarissa's grandmother's maiden name. Clarissa's birth name was Clarissa Rizal Lampe; when she married in 1977, she changed it to Clarissa Rizal Hudson; when she divorced in 2009, she dropped the Hudson
Dinah Hobson, Jamelyn "Jay" Zeller, Karina Reyes, Nicole George and Clarissa Rizal
Jay Zeller shows Clarissa her drawing pad full of sketched characters and their names.
Leandrea Makaily, Taylee Escalante, Jay Zeller, Nicole George, Clarissa and Karina Reyes hang out and talk "artists talk!"
Mar 5, 2011 | Honoring Others, Tlingit Culture Accentuated |
Northwest Coast Native-influenced aerial sculpture in the modern entry way of Juneau-Douglas High School
I graduated from the Juneau-Douglas High School on my 18th birthday in June 1974. I haven’t been in the school since the City & Borough of Juneau had it remodeled years ago. I wasn’t living in Juneau when it was remodeled so I cannot tell you the date. Today was the second time I had been in the high school since I graduated. I did a presentation to the “early scholars” class of 9th, 10th & 1th graders. Directly before my presentation, I quickly took shots of the public art within the vicinity of the path from the front door to Room 214 where i was doing my presentation – I am sorry I did not have the time to get the names of the artists. Yet, judging by the style of art, I recognize some of the artists’ style. Do you know any of the artists?
The remodeled entry of Juneau-Douglas High School
I am impressed with all the public art within a minute from the front doors of the school. Public art was not something to be had anywhere in Juneau when we were in school. Then art teacher, Max Lewis would have loved to see this kind of progress. He tried to plaster the walls with our art any chance he could. If I had photographs of the school halls back then and compare them to what this school has now, we would think that we used to school in a slum.
No doubt a seal among salmon!
Several of these paintings line the upper walls of the cafeteria/commons room off the entry forum.
Even artwork along the stairwell walls!
Very large mural above the forum entry
I am reminded that I’ve been known to do some public art in various places throughout Alaska. With my Ex, back in the late 1980’s into the early 2000’s, we had created a variety of public art in various mediums. Our first one was in Sitka, then several in Anchorage, one in Fairbanks and at least three in Juneau, and one on the ferry to Bellingham, the MV Kennicott. I think I’ll gather up what images I may have of those works and post a blog about them. I’d like to see them all clustered in one public place…like this blog. Stay tuned…
Feb 28, 2011 | Class Act, Tlingit Culture Accentuated |
Nora Dauenhauer files away her weaving notes in her attache' case of;Chilkat weft yarns
For the past year, Della Cheney has been hosting a group of artists every Sunday afternoon at the Fireweed Place here in Juneau, Alaska. Like Della, most of the artists are Ravenstail weavers, cedar bark and/or spruce root basket weavers, although some of them include additional talents like beadworking, and leather work making moccasins and mittens. When Chilkat weavers joined the basket and Ravenstail weavers last Sunday, Fireweed Place’s activity room was packed. There was a lot of fun and excitement. Time flew!
Yoko Kugo explains to Della Cheney the research she is conducting about whether or not there are effects of climate change on the cedar trees.
There are no specified “teachers” in the group, as we are all learning from one another and teaching one another. There are those of us who know how to weave cedar bark hats, yet are learning how to make moccasins; those that know how to weave Ravenstail and are learning how to weave cedar; those teaching Chilkat who are learning Ravenstail. The combination of learning and teaching goes on and on.
Lorraine DeAsis reinforces her children's knowledge of weaving cedar bark headbands and hats by weaving right along side all four. L to R: Patrice, Joshua, Lorraine, Armondo & Antonio
Leandrea Makaily works diligently on her Chilkat headband
Mary Ebona Miller is weaving three Ravenstail projects on her loom
Shgen George is spinning Chilkat warp on her thigh
Kendra Makaily is learning cross-stitching from Debra O'Gara
Lily Hudson is refreshing Nora's memory about weaving her "bear claw" pattern
A bowl of cedar bark soaks while Patrice DeAsis weaves a cedar bark hat
Eileen is one of Della’s basket weaving students; she has learned enough to pass on her knowledge to others in the group. Although I started my cedar bark hat with Della almost two years ago in a class in Teslin, Yukon Territory, Eileen is helping me complete the very edge of the hat. Both Della and Eileen are wonderful teachers. I’m enjoying the comraderie of these women and all those who are attending the Sunday gatherings.
Eileen Wagner shows Dorothy Owen the 6-strand finishing row of her cedar bark hat
Of course, there are some of us who bring food to share. Eileen is one of those follks. She has been co-hosting this gathering of weavers every Sunday with Della Cheney providing some sort of a hot dish of salmon with rice, snacks and vanilla wafers. She takes really good care of us “kids!” We wanna come back every Sunday for more of everything!
Feb 27, 2011 | Class Act, Latest Art Projects, To See or Not to See |
Brother Rick lights candles for Tim's 53rd birthday - the composition of this photo fell into the "3rds" category
A point-and-shoot kind of gal, I’m stepping into a whole nuther ball of wax taking this online course through the University of Alaska Southeast, and I tell ya, it is so much fun. Sure I have to learn to read my new camera manual, sure I have to read instructions on how-to techniques that I never learned before in Photoshop, sure I’m frustrated with all the gizmos, icons and settings that I gotta figure out in this digital world; these are things that I have resisted doing most of my life. I don’t want to read manuals and instructions; I just want to get out there and shoot. Who’s got time to mess around with instructions!? Gee, believe it or not, I do. I want to learn; i want to expand my horizons, and have fun!
Two Brothers and Mom; this composition also falls into the "3rds" category - this was a powerfully emotional moment for all of us
What is this composition called “3rds?” In my simple definition, it is a composition where the imagery is divided in thirds, which could include diagonal, vertical, horizontal, or curved “lines.” In our on-line class, we can only submit one image per assignment. It is sometimes difficult which one to submit. So I am posting some of the images I chose for the assignment but did not submit along with the one I did submit.
South Franklin Street, Juneau, Alaska - last night - another 3rds composition
"Jennie Weaves An Apprentice" Chilkat robe that I am presently weaving. This was the "3rds" composition that I submitted for my class assignment.
I have rarely seen photo images of Chilkat robes and weavings captured with this type of composition; this is why I submitted this for my “3rds” assignment. I realized that most photo images of Chilkat weavings are straight on shots of the entire robe or close-ups. From now on, I will begin including these kinds of compositions when taking photos of my work. It just makes things more interesting for the viewer, as well as more challenging for the photographer!
On a walk out Auke Bay Recreation area, we saw this pair of underwear, soaked and just hanging out - this was an image that I almost submitted for the "doesn't belong" class assignment
Eagle River Beach skies are always spectacular no matter what time of day, month or year - these hearts (one that is obvious and the other forming) were directly above us - this composition fit under the "doesn't belong" class assignment too. Like how often do you see hearts in the sky, huh? I didn't submit this one because I didn't want my classmates to naturally assume that I Photoshoped that heart in the sky - I swear to God, I did not. And I have a witness that i didn't because there were two of us sitting directly underneath!
A banana washed ashore on Auke Bay beach! This is the image I submitted to my online class for the "doesn't belong" assignment. Why? Because it was dang obvious that this banana just did not belong. If the beach were white, hot sands, the sun were blazing and there were coconut trees with lots of tropical foliage, then I could understand. But, when I saw this banana on the beach, I thought, man what is a nice, ripe banana doing in a place like this!?
The next few images are compositions that I submitted for the various assignments in our online photography class where I did not have other images that I shot for these categories.
This composition fell under the class assignment category "RUBI - a photo that is Relevant, Unusual, Beautiful & Important" - Really? This Photo? Why?
Grand-daughter Violet is a doll; just look at that expression as she checks out the one that is most relevant and considered beautiful (by American standards), while the “foreigners” watch in anticipation and shock saying to themselves “She could have chosen any of us as her baby doll…but how is it she chose THAT one when the girl is only three years old!?” Of course this is my RUBI choice, check it out: A Barbie doll is something we can all RELATE to, my Violet is BEAUTIFUL, the company is UNUSUAL, and it is very IMPORTANT to scrutinize the quality of each doll if you’re paying big money!
The underground train in either Vancouver, B.C. or Seattle - I forget which one; this image I submitted for the class assignment entitled "best represents my concept of photography." I generally use photography for documenting my art progress and work, events, travels, people, places and things - I consider myself a "drive-by-shooter." This image represents my "quick-on-the-draw" method while documenting my travel.
The sound and anticipated taste of fresh, untainted wild water! Nothing like it. We are fortunate to be one of the few places on earth with pure wild water. Nugget Falls, Mendenhall Glacier, Juneau - This photo fell under the assignment of "a photo that appeals to a sense other than sight (touch, hearing, taste or smell)...
My imagination got away with me when I turned around and saw an extended arm reaching out of the fireplace! - This image I chose for the assignment of "disturbing."
Clothespin photo by my son, Kahlil Hudson. The class assignment was to find a photograph (taken by someone else) that was one of the most powerful and riveting images I'd ever seen and explain why the picture was so meaningful.
She never lined her drawers with scented liner sheets, incense or sachets of fragrant dried flowers. Mom loved the smell of fresh air in her clothing. A clothesline in winter didn’t stop her from hanging out the laundry; by golly, they were freeze-dried if it took capturing that fresh, natural scent! How many of us make the time to hang our laundry outside on even the sunny days to capture the wind, sun and predicted rain? When Mom first came to Colorado for a visit the first time years ago in 1993, I had discovered how she was always eager to do the laundry and hang it out to dry (probably because it was always sunny in the town we lived). I didn’t know this about my mother because we didn’t have a clothesline when we were growing up (because we didn’t have any land to make a clothesline post). When I first laid eyes on this photograph, I cried. It brought up the firm reality that I will never see my mother hang my (or her) laundry again, as I no longer live in Colorado and she has become too fragile to reach for a clothesline. This image also reminds me of a time not so long ago in our own home town of Juneau where we weren’t constantly rushing about and actually took time to “smell the roses…” When’s the last time you saw clothing swinging in the breeze?
Feb 19, 2011 | Honoring Others, Tlingit Culture Accentuated, Uncategorized |
Della Cheney explains the Ravenstail robe design she created and wove as a ceremonial gift for her daughter who graduated from law school - the design includes the ANS letters in the top border
Born and raised in Kake, Alaska, Della Cheney has been residing in Juneau for the past couple of years. Last Thursday of last week, February 10th, she gave a presentation at the University of Alaska Southeast in Juneau on cedar bark, spruce root and Ravenstail weaving. She is the first of 6 artist presentations sponsored by the UAS this Spring. (Pardon me for being late with this entry; I would have posted this blog entry earlier, but for some reason my “WordPress” program had been acting up for a week until today.)
UAS students, staff, faculty and the general public attended the presentation
Two years ago in July 2009, I had the privilege of learning how to weave a cedar bark hat when Della was teaching a class at the Teslin Cultural Center (Yukon Territory, Canada) during part of their Celebration 2009 activities. I happened to be there because I was teaching a Chilkat/Ravenstail class. During the first day of the class, while everyone was first experiencing the texture of cedar bark (for some the very first time), Della spoke of the spiritual connection between humans and the world about them including the bark of trees. She spoke of the spirituality and attitude of the Native people when we harvest our materials and supplies for creating the functional things that were common in our every days lives many years ago, and how these things went by the wayside when we were adjusting to the Western ways of doing things and trying to integrate the two separate values which often times clashed. Della spoke of things that had nothing to do with the technique of cedar bark weaving, but had everything to do with the lifeways, spirituality and attitude which all goes into creation. I listened intently. In all the native art classes I had ever taken over the years, whether taught by Native or non-Native, I had not come across anyone who spoke in a language that I understood; I could relate. This resonated with me. And when I looked about the room at the fellow students, I could see they were truly listening and were reminded of our innate spirituality born within each of us. So from then on, I knew that anytime Della would be doing a presentation of any kind, I would do my best to be in her audience as here at UAS. I want to hear more about the art of spirituality in the spirituality of creation.
Della explains the Alaska Native Sisterhood (ANS) design on the traditional "Koogeina" (sash) also reflected in the cedar bark hat (in her left hand) being woven by her student Eileen Wagner
The ANS Koogeina and hat amongst bundles of split spruce roots and maidenhair fern prepared for weaving baskets
After the presentation, Della Cheney and her student of basket weaving, Eileen Wagner, explain weaving patterns to audience members
Cedar bark roses, small and large are amongst the traditional cedar bark baskets and bundles of prepared split cedar
I am almost done with my hat that I started in her class.. I spent about three 10-hour days weaving the hat. It has been on my wooden hat form for almost two years. I haven’t touched it since the class. However, Della hosts a weekly Sunday afternoon artists’ gathering for folks who want company while they are weaving cedar, spruce roots, Ravenstail or Chilkat; or they are bead working or sewing. I am going to learn how to end the hat and I am excited. Stay tuned; once I complete the hat, I will post it as an entry on this blog.
A couple of wooden hat forms show signs of being well-used. The hat form in the foreground was hand carved of one piece of red cedar by Della's brother and well-known artist, the late Norman L. Jackson, Sr. from Keex Kwaan ( Kake, Alaska). Eileen Wagner talks art with Ernestine Hayes, organizer of the UAS "Art of Place" artist presentations
The “Art of Place” presentations sponsored by the UAS, are held at the Juneau campus in the Glacier View room. (Where’s the Glacier View room? It is in the building that has the library, however, the Glacier View room is kitty corner from the library; it is at the top floor right hand side. When entering the building from the parking lot, the room is to the far right – once in the building, ask for directions.)
All presentations are open to the public; they are all held on Thursdays and begin at 10am to noon followed with potluck desserts to provide audience members to schmooze with the artist!
Here’s the list of artists:
* Della Cheney (with Eileen Wagner) started the series off last week with her presentation on Ravenstail and basket weaving.
* I will be doing my presentation next week on Thursday, February 24th.
* Ed Kunz is scheduled to demonstrate silver carving on Thursday, March 17th.
* Doug Chilton woodcarving on Thursday, March 24th.
* Florence Sheakley beading and blankets on Thursday, April 7th
* Helen Watkins gathering and preserving foods on Thursday, April 21st
I will be demonstrating Chilkat weaving on my latest robe – which hopefully will be 2/3 completed by then.
I will also be giving a power point presentation on some of my robes and paintings.
Also including a bit of storytelling as well.
If you have time, come on out and support our local artists.
Feb 13, 2011 | Honoring Others, Latest Art Projects, Tlingit Culture Accentuated |
Patrick Gilbert Mills
It is one of those unexpected passings; our cousin Pat Mills passed away a couple of weeks ago. I’ve been thinking of his free spirit, a kind of happiness that I call “happy boy” that showed up especially in his Native dancing or while fishing on the Mary Joanne. I got to thinking about the vessel with a lifetime of history quietly incubating at the dock in Hoonah. I remembered the first and last time I was on the boat: August 1979 on the West side of Glacier Bay called Dundas Bay. My Aunt Katherine Mills, Aunt Sue Belarde, mother Irene Lampe and all the cousins went aboard three vessels from Hoonah to Dundas Bay – it was a rare and glorious sunny day.
Dundas Bay is a part of Glacier Bay National Park which still legally belongs to the four clans in Hoonah who have claimed Glacier Bay as part of their homeland. The four clans are the Wooshkeetaan (Shark), the Kaagwaantaan (Wolf), the Chookaneidee (Bear) and the T’akdeintaan (Black-legged Kittywake; that’s our clan). Auntie Katherine Mills, who was the eldest of my aunts and uncles with my mother as the youngest of her siblings, said that every year her mom and dad, aunts, uncles, brothers, sisters and cousins would set up camp and gather subsistence foods of the land and sea in Dundas Bay. (Of course, this included gathering wild strawberries and the unique nagoon berry!) She reminded us that Grandma Sarabia’s maiden name was Wilson who had several brothers including Shorty and Mike Wilson. All grandma’s brothers were avid hunters and fisherman. (Mike Wilson also enjoyed gardening. My father and I too!)
As Pat anchored the Mary JoAnne in the bay, Aunt Katherine pointed to two peaks of the Eastern mountain range and explained they were the landmarks for the right place for the nagoon berry patch and where the family used to camp. She said we will go through the trees in the direction between the two peaks and when we come out of the trees there would be a big meadow in a big valley. We took small skiffs to the steep shoreline. I remember how quickly the water moved past even while waiting on board the MaryJoanne; it just proved how swift and strong the river was flowing into the sea even though we could not see the mouth of the river. The place smelled clean and fresh and there was a feeling of true wilderness; the land was brand new.
Surrounded by dark-gray mountains, we indeed came out of the treeline to the berry patch in a valley about 3 to 5 miles long and a mile wide. Imagine a berry patch being THAT big! We spent the entire late morning into the late afternoon picking the best nagoon berries ever! At the end of the day, most of us had picked two 5-gallon buckets – and these berries were about as far away from mankind as you could get so the plants were not just the 8″-high plant we find around the Juneau area; they were 18″ high, like up to my knee, I kid you not! The berries were as big as a man’s thumb! I have thought about that berry patch every year since. If digital cameras were invented then, there’d be lots of photos smeared all over Facebook. Alas, this was almost 32 years ago; we didn’t even have an inkling of digital stuff back then!
Anyway, let’s get back to Pat. What about the Chilkat robe image?
A couple of days ago, as I was thinking about Pat, his wife Karen, the FV Mary Joanne, the berry-picking trip, my aunties and all those from our family who have passed away, I suddenly got this image in my mind: A Chilkat robe in honor of Pat Mills. I want to design a robe that incorporates our T’akDeinTaan clan emblem the Black-legged Kittywake flying around the FV Mary Joanne. When am I going to weave the robe? I don’t know. I am just in the stages of designing and sketching it. Maybe I’ll do a painting of the robe?
Who’s Pat Mills? Here’s his obituary – written by several nieces and nephews with the assistance of his wife, Karen:
“Patrick Gilbert Mills was born May 6, 1947 at the Mill’s home (“down the house’) in Hoonah, Alaska to Gilbert and Katherine Mills. He was a life-long resident of Hoonah. He died January 24 at the Alaska native Medical Center in Anchorage with Karen, his wife of 34 years at his side and surrounded by family and friends.
Pat was a devoted member of the Russian Orthodox Church along with the rest of his siblings. All being competitive, the boys were always challenging each other to be the best alter boy. Needless to say, Pat usually won.
He is a member of the TakDeinTaan Clan and represented the clan at many ceremonies throughout SE Alaska. Pat was the house leader for the Kaa Shaayi hit, head house and is also from Tax’Hit, Snail House. His Tlingit name is Yiskeiwdusa. He loved to dance and was a lively participant at memorial parties and Celebration. Pat is Wooshkeetaan Yadi and Kaagwaantaan dachxan.
Pat was a member of the second graduating class in Hoonah in 1965. He was voted the Most Outstanding Player of the first Hoonah Braves basketball team in 1964. His love of basketball extended to many Gold Medal Tournaments. He was a strong supporter of many Hoonah City Schools sports events. He served in the U.S. Army from 1966-68. As a member of the Signal Corps, he was stationed in Germany. After his discharge, Pat returned to college, earning his Associates from the University of Alaska Fairbanks.
He married the love of his life, Karen Singleton, in a beautiful ceremony outside his grandparent’s cabin in Excursion Inlet on July 31, 1976. A wonderful time was had by all. Each year Pat and Karen always made time for each other to celebrate their wedding anniversary even though it was in the middle of fishing season. Pat and Karen, Karen and Pat — the names just go together after all these years.
Pat lived the fisherman’s dream from birth. He first fished with his father and then progressed through the ranks starting as bull cook up to Captain. He fished everything before everything went limited entry. Pat fished for other Captains including Jacob Pratt Sr., Richard Bean Sr., Warren Sheakley Sr., Dan Sharclane, Sr., Richard McKinley, and Bobby Duncan. Later, he operated the F/V Alberta before buying the F/V Mary Joanne. Pat seine fished, crabbed, long-lined, and trolled. In the past few years he and Karen enjoyed their new skiff and took many family members for rides and fishing trips.
He strongly believed in the traditional and cultural values of the Tlingit Nation, from the gathering and harvesting foods from our land to the roles played by uncles and elders. He took the time to teach and share with others our culture and history. He had such interesting stories about what Grandma Mary Sarabia and Grandpa Juan Sarabia said and did in daily interactions with others. He said, “We could tell who was an important visitor by which snacks we had to set out.” He and Karen have been very proud supporters of the annual “School Ku.eex.” They donated time and foods harvested by their hands. Pat spent a lot of his time fishing and hunting and was generous, sharing his bounty with elders and other family members. He loved kahaakw and often made jars of it to share with others.
He was intensely interested in preserving the family’s Tlingit history. He worked to preserve old tapes and videos of songs, stories and dances and shared them with other family members. Pat was concerned about Tlingit land rights. He wrote many letters to his legislators, Sealaska, Huna Totem and the Juneau Empire. He was not shy about letting people know what he thought and why.
Along with his grandparents, parents, siblings and many cousins, Pat spent his summers, and some winters in Excursion Inlet. Later, he and Karen built a cabin on their land at Excursion Inlet. They called it ‘the nest’ because you had to climb 56 steps to reach it.
Pat is survived by his wife, Karen S. Mills, sisters, Eleanor Moritz, Rosemary (Tom) Jimboy, Judy Mills, Kathy (John Marvin, first cousins, considered and raised as sisters due to the loss of their father when they were very young, Linda Belarde, Edna (Sam) Lamebull, and Daphne (Frank) Wright, brothers, Tony, George, tom, Mike, Chris, Stuart, and Jeff, adopted daughters, Margaret and Carol Haube, numerous nieces nephews cousins, and many others who called him “Uncle Pat” and “Grandpa”, aunts Irene Lampe, Helen Sarabia, Marie Shodda, and Theresa Howard and uncle John Howard. He was preceded in death by his grandparents, Mary Wilson Brown Sarabia, Paul Brown and Juan Sarabia, Albert and Emma Mills, his parents, Katherine (Brown) and Gilbert Mills, brother Gilbert “Butch” Mills, sister Phyllis Mills Bean, aunts Sue Belarde and Margaret McKinley and uncles Ed and Bobby Sarabia, Bill Lampe and James McKinley, and his beloved Salt and Pepper.
Services were held at the Tlingit and Haida Community Center in Juneau on Friday, January 28th and a service in Hoonah at the school on Saturday, January 29.”
Young relatives created a Facebook page in honor of Pat, click here to view continuing contributions of photo images and read: “We Love Pat Mills”
Feb 4, 2011 | Class Act, Latest Art Projects, Showing Off, Tlingit Culture Accentuated |
Martine Reid introduces Clarissa to an audience enthusiastic about Chilkat weaving in the great hall of the Bill Reid Gallery in downtown Vancouver, B.C.
There are several weavers who are scheduled to do presentations during the Time Warp exhibit on contemporary Northwest Coast weavers at the Bill Reid Gallery in Vancouver, B.C. Canada. Since the exhibit opened in July 2010, 18,000 visitors viewed the beautiful weavings; you have a couple of weeks to visit the show – it closes at the end of this month. Haida weavers Delores Churchill, Evelyn Vanderhoop and Lisa Telford will be doing presentations during the closing weekend. If you are in the Vancouver area within this next month, you still have time to visit this fabulous exhibit.
A few of the beautiful handwoven textiles at the "Time Warp" Northwest Coast Indigenous Weavers Exhibit
Last weekend I demonstrated Chilkat and Ravenstail techniques at the gallery on Saturday and Sunday afternoons. Other than the usual demonstration on the techniques of Chilkat weaving (i.e. two-strand twining, 3-strand braids, interlock and the magical use of the drawstring), I spoke of my perspectives and theories on specific personality traits of the various clans, leading to the specifics on each moiety, the Ravens and the Eagles and how I noticed certain patterns in our clan system, patterns I was once oblivious to and now seem obvious. Like what? Well,… that in a class of 10 students, generally one of them will be an Eagle, all the rest are Ravens. Why is that? I brought up the subject of the Killerwhale women, those who are inquiring about learning Chilkat weaving from me. I know not these women, yet after a few emails and phone calls I have an inkling they are from the Killerwhale clan. How can I decipher that they are from the Killerwhale clan just by a few phone calls? I also answered several political questions, they included:
1). How do I feel about robes being auctioned off (there was a man from a local auction company in the audience who had a Chilkat robe with him inquiring about its age)? How do I feel about robes that are in collections and museums around the world that are not in our presence being used for ceremony?
2). Do I teach non-Natives? If not, why?
3). How do I feel about men weaving Chilkat?
(What were my answers? You’ll have to come to my next presentation! – Check out my calendar on my website to see if I am doing a Chilkat weaving presentation in your area at: Clarissa’s 2011 Calendar) Note: If you are in the Juneau area, I will be doing a two-hour presentation at the University of Alaska Southeast at 10am-noon in the Glacier View Room on Thursday, February 24th).
When I answered each question, I had a story to tell from my own personal experiences as a weaver, a member of my clan, a comrade to fellow weavers, and as a teacher of Chilkat. As you can imagine, these questions are touchy subjects. Yet to my own surprise, I answered each with a level of grace. I bet the audience probably thought I had answered these questions all the time. Not! The presentations that I gave this weekend were nothing like I had done in the past.
The presentations were supposed to be 2-hours; I had no idea I went over another hour to two hours and the audience still wanted more. What more did they want as most of my presentation was storytelling? They wanted more of that!
(Now, bear with me as I tell a story that might sound like I am bragging about myself, but continue, as in our custom, we tell the story full circle before we get to the point.)
Since 1989 I have given public presentations and demonstrations to as few as 25 people up to 2000, in diverse venues including Clan Conferences, the U.S. Forest Service, Holland America Lines tour ships, the Smithsonian, the National Museum of the American Indian, Toadlena Trading Post near Shiprock, N.M., the Anchorage Museum of History and Art, the University of Alaska Southeast, the Alaska State Museum and the Teslin Cultural Center. After that many years, you would think that I’ve got my presentation down pat (i.e. an outline, a power point presentation, handouts, brochures, business cards, and basic answers to the all-time questions). I don’t. I improvise every time. No notes. No nervousness. No worries. I do a presentation depending on the “feel” of the audience, the “feel” of the space, and what the hosts expect (or don’t expect) from me. I hadn’t even realized how “unprofessional” I was until most of the audience flocked about me when our time was up and I just carried on continuing to talk about personal experiences related to my life as a Chilkat weaver as if I had known these people all my life! (Like what is up with that!?)
Luckily, gracious Martine Reid reminded everyone that the Gallery was closing for the day else we probably would have had a slumber party staying up all night talking about art and spirituality, leaving out all business and politics.
In the next couple of days following my presentations, I received several emails from audience members who commented on how moved they were. They mentioned being taken all over the board with humor, contemplation, wonderment, grief, satisfaction and inspiration. The interesting thing was I was moved as well. I hadn’t ever done a presentation where I felt a sense of comraderie with the audience, a sense of peace and excitement all at once, and I carried on as if I were a talk-show host, in fact I even FELT like one – like that host Craig Ferguson! I think I even imitated some of his gestures and stances! I kid you not! – There were also times where I was almost in tears as I spoke about various subject matters including my apprenticeship with Jennie Thlunaut, the stories behind the robes, and just being a full-time, self-employed artist living on the edge where most of us dwell, including recent major life-changing events happening all at once.
On the flight returning to Juneau, I was reflecting back upon all the folks I met over the past weekend. I thought about my gracious hosts, Martine Reid, who is the widow of the famed Haida artist Bill Reid, and her companion, Allan Badger, a retired Chemistry professor. I thought about Megan Smetzer who had come to see my presentation; Megan, who was born and bred in Fairbanks, Alaska had done a presentation on octopus bags of the Northwest Coast at the Sitka Clan Conference back in 2007, which is where we first met. I thought about some of the audience members who introduced themselves and talked a little about their lives. I too wanted to spend more time with these folks. It felt good to see Megan, spend some quality time with Martine and Alan, and meet all these people. I wished that my family were in the audience. I wished all my weaving students were there too. I wished Jennie and all her Wolf Clan relatives were there too. Reflecting back upon these things, I am reminded about how it has been a good experience to be a part of this big picture in the world of Chilkat. When Jenny Thlunaut chose me to be her apprentice in 1986 just two months before she passed, I had no idea the life I would lead because of her choice combined with my choice of having accepted; I’ve had humbling experiences. It’s been an honor.
I also thought about my actual presentations at the gallery; why was I so “on” and full of high energy? I was flying high. Why did I not demonstrate more weaving techniques to the audience; isn’t that what they really came for? And how come I’ve neglected giving thought to presenting myself professionally: the product, the presentation, even my own appearance (generally wearing black sweat pants the past 8 years!).
I’ve been doing this work for over 20 years; why haven’t I “gotten with the program” and been more professional.
Now, I’m getting to the point; it is very simple.
I’m passionate about all the aspects of Chilkat weaving – the spirituality, the design and its meaning, the culture, and the actual finished robe. I’m passionate about sharing the information about this art form. I’m passionate about others who are carrying on this tradition and those who are learning about it. I’m passionate about teaching my students, and in turn they teach me. I’m passionate about my life. Those of us who live an artistic life will most likely understand what I am saying and relate! So of course, my passion would show during my presentations regardless of whether or not I appear “professional!” I’m not really passionate about APPEARING to be professional! OMG, what a revelation!
Martine Reid, Co-curator of "Time Warp" exhibit and widow of the late Haida artist Bill Reid - Photo by Alan Badger
Alan Badger, a retired Chemist, and the woodworker for my Chilkat headboard he made to display my Chilkat robe for my presentation - photo by Martine Reid
Many thanks to Martine and Evelyn for all the work in producing this exhibit and inviting me to do a presentation, as well as including my daughter, Lily Hudson and I be a part of this exhibit with our collaborative piece, “Copper Child.” Many thanks to Anthea Mallinson, a tapestry weaver from the Vancouver area, for loaning the Bill Reid Gallery the frame of her loom to host my Chilkat robe. Many thanks to Alan Badger for making the headboard (strapped to Anthea’s loom) for me to display my Chilkat robe for this presentation, and also for posting some photographs of the presentation on Flickr. Many thanks to the staff and volunteers at the Bill Reid Gallery. And many thanks to all those who came out to this event and exhibit.
To view more images of my demonstration, and the opening of the fabulous Time Warp exhibit, visit the Bill Reid Flickr site at: http://www.flickr.com/photos/billreidgallery
Jan 25, 2011 | Latest Art Projects, To Market To Market |
Canvasses drying on my studio floor
In amongst the band practice area, the Chilkat weaving loom, the desk surrounded by 3 art printers, and the TV space, lay 9 canvasses spread about the studio floor in Colorado. They were just gesso-ed.
Gesso is a white primer - the brand I used is "Utrecht." Very thick as you can see, the brush is standing up in the bucket when there is only an inch of primer left!
I am on a two-year mission; I just started this past Sunday, the 22nd. Since 1983, I’ve designed and made 50 Tlingit ceremonial robes in the button blanket, Chilkat and Ravenstail styles. I am using all my paper patterns of these designs for my paintings. For each robe, I intend to paint a contemporary “mate.” When all 50 “mates” are completed, I’m including them in my book of my first 50 robes.
A couple of weeks ago I posted a blog displaying a few of my favorite button robes. Click this link to see those robes: “The Language of Robes: Clarissa Rizal’s First Fifty”
