Jul 20, 2015 | Acting Out and Musical Chairs, Adventures of Rear-Mirror Rissy, Showing Off, To Market To Market |
Clarissa takes a photo of herself on KTOO Public Radio station’s monitor – Juneau, Alaska
who sponsors the weekly TV series called “Colores” at PBS New Mexico.
When show organizer John Morris contacted me about being a part of the Antique Native American Art Show in Santa Fe, New Mexico opening August 17th, I did not know it would involve doing my first public television interview airing on Saturday, August 8th in Albuquerque, NM. Modern technology made it so that the interviewer, who was in the television station in Albquerque, could interview me while I sat in the KTOO television sound room. Technology sent the visual interview via internet along with me providing about 100 images of my work to the TV company who sponsors the weekly TV series called “Colores” at PBS New Mexico in Albuquerque.
The interview will broadcast on the following dates:
Clarissa in the TV recording studio of PBS’s local station at KTOO in Juneau, Alaska
The episode with my segment will broadcast on Saturday, August, 8th at 4:00pm on Channel 5.l PBS New Mexico who sponsors the weekly TV series called “Colores”.
It will also repeat as follows:
Monday, August 10th at 9:30pm on Channel 9.1.
Friday, August 14th at 10:30pm on Channel 5.1.
Just a reminder that this is a segment not the entire show. The way Colores! works is that each show is made up of approximately 3 segments. Clarissa’s segment is about 5 minutes. They will mention the Santa Fe Antique Native American art show during the program.
Thank you Tara Walsh and Joan Rebecchi at PBS New Mexico and the folks at Juneau’s KTOO for getting this interview together.
Jul 18, 2015 | Latest Art Projects, Tools-of-the-Trade |
Dyed red antler bone carved into fish
It’s been awhile back that I purchased these so I don’t recall where I bought these little, red, valuable trinkets cut from antler, dyed red, sawed into the shape of fish and then embellished with circles and lines using a dremel tool. I figured I will use them one day for a button robe. Have any of you seen these guys; if so, where?
Jul 16, 2015 | Uncategorized |
Grand-daughter Amelie helps her grandmother Rissy Rizal count how many balls of warp prepared for starting the next Chilkat robe – April 2015
“The Weaving Space” is the 7th post of a series of blog entries called “Clarissa’s Studio” – shots of her work/living space that I began sharing in April this year because the general public is always curious to visit artist studios and because I live and work part of the year in the boondocks of Colorado, nobody comes to visit me. So…blogging about my studio is as pretty close as most of you will ever get to see my work space! You may see the other posts under the category called “Tools of the Trade.” There is a total of 9 in this series.
Clarissa’s space for Chilkat and Ravenstail weaving sandwiched between the sewing area and the great white table
And yes, the space is really this cozy all the time,…AND, I am organized and neat. I have to be, else I’d be distracted with messes that would keep me from accomplishing my goals. My motto: “Gotta getterdun!”
The borders are started on Clarissa’s next Chilkat weaving, a dance robe combining concepts from Egypt and of course, the Tlingit people of the Northwest Coast – April 2015
Jul 13, 2015 | Adventures of Rear-Mirror Rissy, Class Act, Latest Art Projects, Tlingit Culture Accentuated, Tools-of-the-Trade |
7-year-old Elizabeth Hope reads the step-by-step instructions out loud on how to make a drum
Sealaska Heritage Institute sponsors the “Baby Raven Reads” program which mainly teaches young children how to read yet also conducts other cultural projects for the young minds and bodies. This past Sunday, Mary Folletti taught the drum making class for children and their families took place for a couple of hours at the Gajaa Hit Building near the ANB Hall in Juneau. Thank you Davina Cole, project coordinator from SHI…!
Prepared raw hide is soaked in water
The drum making kits were purchased from a supply store in Centralia, Washington State at Centralia Fur and Hide Company (their website is of the same name). The kits included the pre-bent wood frame, the pre-cut circle of hide and the raw hide threads.
A few tools and supplies needed for drum making: needle-nose pliers, hammer, scissors, push pins and “Tightbond” wood glue
My grand-daughter Elizabeth and I were one of approximately 20 Juneau families who took this class. Most of the children were around 4 to 7 years of age, though there were a few younger.
After the raw hide has soaked, place on a flat surface smooth side down with pencil markings facing down; pat with a towel to absorb excess moisture
For many years my friend, Becky Etukeok made drums from local hides such as deer, moose, and caribou. After taking this class I have a larger admiration towards her dedication to this art form. I had never seen how drums were made nor had the appreciation of how they were made until doing this simple class where all the hard work was done for us. Although Beckie now is the program director of arts at the Alaska Native Heritage Center in Anchorage, she is still known as “Beckie Drum-maker.”
Soak spiral-cut, 3/8″ “threads
When threading, pull so there’s no slack, but not too tight as that will make your drum too high pitch.
Instructor Mary Folletti demonstrates how to begin threading
How to include your young child in making a drum:
* Let your child explore the materials (sinew, frame, hide) while you name them.
* Talk about how the frame is a circle. Ask what shape the hide is and why it’s bigger than the frame
* Ask what the different materials feel like (smooth, wet)
* Ask or explain where the materials comes from (deer, tree, intestines)
* Count the holes together, name the tools (hammer, pliers, scissors)
* They can help pull the sinew through
* The can help “pull tight”
* They can help hammer tacks with close supervision
Begin threading through one hole and tie a half hitch knot
Thread through the hole directly across the first hole, and repeat
Clarissa helps her grand-daughter Elizabeth how to create a handle
Most everyone in the class has created their “star” pattern
I had a blast making this drum with my grand-daughter Elizabeth. I look forward to doing more cultural things with all of my grandchildren as they grow up.
Some drum makers fold rawhide between the threaded areas over the frame and hammer a tack in each section to hold it down.
When you have completed your drum, make sure you take the thumb tacks out and let your drum dry on a clean, flat surface, face up. Depending on your climate: it takes about 2 days to dry in Alaska, though at 7000 feet where the climate is a bit drier like the 4-corners area of the United States, the drum may not even take a day to dry!
Directly after creating the handle and pushing the raw edges of the leather to the inside of the drum, with her strong fingers, Elizabeth carefully smoothes the frame removing all the big folds and wrinkles – you must do this step as soon as possible before the hide even starts to dry
HOW TO CARE FOR YOUR DRUM:
Your drum was made out of an animal and a tree and some say the drum is a living being so you want to honor its spirit with love and respect
Store it wrapped in cotton, wool, or a custom drum bag face up or on a wall. Keep it from extreme temperatures and direct sunlight as heat may cause it to crack.
Water expands and heat constricts. On sunny days you can mist with a damp cloth or spray bottle. If your drum is cold you can warm it slowly, using your own skin as a gauge.
Clean with a slightly damp cloth. You can condition with Shea butter bought from cedarmountaindrums.com
Careful not to set anything on your drum and remember to play your drum often. It wants to sing!
Mary Folletti teaches some of the kids how to do various beats with their new drums and drumsticks
How to make a drumstick:
You will need a stick, padding (cotton or wool cloth), sinew, and a piece of buckskin.
1) Put glue on one end of stick covering 1″ down around the whole stick.
2) Wrap padding around end of stick that you glued, snuggly not to tight.
3) Use sinew and wrap around padding a dozen times crisscrossing, then tie off on stick behind padding.
4) Center Buckskin on end of padded end, pull down stick and hold snug behind padding then wrap sinew very tightly around buckskin and stick 7 to 9 times; tie off using scissors to trim excess buckskin
Jul 11, 2015 | Adventures of Rear-Mirror Rissy, Honoring Others, Tlingit Culture Accentuated, To Market To Market |
L to R: Dorothy Grant, Vicki Soboleff, Catrina Mitchell, Nancy Barnes (Jr.), and Clarissa Rizal sport Dorothy Grant’s beautiful designer clothing
During the final hour of the Sealaska Corporation’s annual meeting, my friend Rhonda Mann and I took a jaunt over to Dorothy Grant’s booth of her designer clothing. Of course we went wild over the blues! And it turns out that after a half hour of having a ball, all of us danced away with a Dorothy Grant!
For those of you who want to know about our top Northwest Coast Native designer of 35 years, check out her website at: www.dorothygrant.com
Jul 9, 2015 | Class Act, Tlingit Culture Accentuated |
Depending on the size of your copper T’naa’s, you will need a variety of tools show above…You Can never have too many tools….!
I would go into defining what a copper T’naa is however, my time is truly booked and I want to post this sooner than later because there are so many additional posts to post right now I am back-logged! I haven’t been able to keep up with myself!
If you don’t know what Copper T’naa’s are, I suggest you do a little research on line.
Donald Gregory’s small copper T’naa patterns with small photos of actual life-size T’naa’s
Local Juneau Tlingit artist, Donald Gregory was gracious enough to teach me how to make these small copper “gems!” So precious are our tiny pieces of metal that I take the learning of making these things to heart. I asked Donald if he would teach me because I want to someday make a button robe with nothing but T’naa’s adorning the robe…it’s a lot of work, though so worth bringing the vision of what is imagined into this tangible form!
various sizes of hand files, a hole punch and a small hand-drill
As most artists know, having the right equipment and right tools makes the experience of whatever it is you are creating, worth your while!
A variety of hammers for making copper T’naa’s
A variety of cutting devices for making copper T’naa’s
A variety of sizes of (?)…I swear I don’t remember what these are called…!
electric dremel, cutting and guage tools
hahaha! Lol. — I don’t remember what these are called either…but they are used to score the vertical and horizontal lines within each copper
The following are a sequence of photos to demonstrate the process of making the copper T’naa’s. I envision you will use these images as a tool to help guide your work in making the T’naa’s. Though as usual, the best way to learn anything is directly from it’s maker!
Choose the right size pattern
Using Sharpie marker, draw your T’naa directly onto the copper
With metal cutters, cut the shape of your T’naa
score
Bend 1st score before scoring second score
gently pound the copper into a shape using your base block
Using “that” tool begin repouse, lightly tapping to begin making concave top
First use the scoring tool to create the dent where you want your earring loop hole, then use small hand-drill to drill the hole
Using hand file, file down the rough edges of your T’naa
Jul 4, 2015 | Tlingit Culture Accentuated, To See or Not to See |
Isn’t this a cool image? What do you think it is?
Could this be a black and white photograph photoshopped to look like a print or painting? How about a shower curtain caught first thing in the morning?
Jul 2, 2015 | Adventures of Rear-Mirror Rissy, Honoring Others, Showing Off, Tlingit Culture Accentuated |
Clarissa Rizal models her 7-piece dance ensemble created by 4 generations of women in her family: Clarissa’s Grandmother Mary Sarabia made the tunic for great uncle Leonard Davis, button robe designed by Clarissa and beaded by mother Irene Loling Sarabia Lampe, button work by daughter Lily Hope. (Photo by Minnie Clark)
This evening, the Adaka Festival sponsored the 2nd biennial Da Ze Tsan Fashion Show featuring traditional and contemporary designs from First Nations designers and artists, including a special sealskin collection from Nunavut, performances by Andrameda Hunter, Nyla Carpentier, and special guests. I was asked to be one of the special guests to show the following ensembles:
Mariella Wentzell models Clarissa Rizal’s latest 5-piece Chilkat woven ensemble “Chilkat Child” which includes the headdress, robe, apron and leggings (photo by Minnie Clark, Yukon News)
At $20/ticket (Elders and youth $10/ticket), I was totally surprised to hear that the tickets were sold out the first day of Adaka a week ago, and the standing room audience proved it so! — Fabulous traditional and contemporary works walked this runway. I did not include any photos here for several reasons: I was back stage during the event so I did not take any photos. These photos of my ensembles were borrowed from Minnie Clark, Photographer. And if you want to see photographs of the rest of the fashion show, then be-friend Minnie Clark on Facebook.
Megan Jensen models Clarissa Rizal’s three-piece leather ensemble made for her mother Irene Lampe by beadworker Kate Boyan in 1981 — Clarissa inherited the ensemble with her mother’s passing in 2011 (Photo by Minnie Clark)
Wayne Price models the “Egyptian Thunderbird” button blanket robe designed and sewn by Clarissa Rizal – though you cannot see the design in this photo image, you can check out the robe at the Haa Shagoon Gallery in downtown Juneau, or you may see it during one of the Native American art markets in Santa Fe, New Mexico (August), the Lawrence, Kansas (September) or Tulsa, Oklahoma (October), or Los Angeles (November – check out my “Calendar” website page for details (Photo by Minnie Clark)
Jun 29, 2015 | Adventures of Rear-Mirror Rissy, Class Act, Honoring Others, Tlingit Culture Accentuated, Tools-of-the-Trade |
Artist, Professor, and Instructor of Tlingit form line art, Lance Twitchell introduces the class first with the spiritual and cultural context
Yes, I took an evening of form line instruction. Yes, even though I have been drawing formline for nearly 40 years, I felt like I could use some FORM-al instruction. I learned a bit from the instructor, Lance Twitchell. I learned a few techniques that I had never though of using AND I learned that I am not too bad of a designer, and that I could use some more assistance and inspiration. After all these years, it’s fun taking a class in which you know almost as much as the instructor! Lol.
Approximately 18 students, many of them just beginners, in the form line class sponsored by Sealaska Heritage Institute
A few years ago, Sealaska Heritage Institute took it upon themselves to begin teaching form line classes after Haida Artist Robert Davidson told the audience in attendance at the Sealaska Juried Art Competition that “the Tlingit people didn’t have very good artists who mastered the form line art.” (I had heard complaints from other well-accomplished Tlingit artists about Robert’s statement. I laughed at the absurdity, though at the same time I know that all of us will continually better ourselves at the formline art. Even so, did Robert realize his statement was a slap in the face to several Tlingit artists who have been working as long as he or nearly as long, like Nathan Jackson, Preston Singletary, Israel Shotridge, Rick and Mick Beasley, the Chilton brothers, etc.?)
Students were given the task of choosing a design aspect of the carved bentwood box shown on the screen to replicate as best as they could on their drawing paper
I don’t know if Robert realized how he was saying these things may have caused a ruckus for the locals though nevertheless, SHI decided it was high time they do something about educating the Tlingit artists no matter where they were in their careers as designer/artists.
Lance provided a list of the various form line definitions created by Bill Holm and Bill Reid over 40 years ago
Lance Twitchell added some very good aspects to the one-night instruction plan: the design terms in Tlingit language! I felt Lance did a fine job of leading the students carefully step-by-step. Though the part I enjoyed the best about his presentation was his acknowledgement of all the artists who had gone before and the spiritual representation of the art. — Being self-taught in Tlingit form line design, I appreciate the fact that SHI has taken the initiative to conduct classes throughout Southeast Alaska. If we had these classes 10, 20, 30, 40 years ago, I would have taken them…and that’s why I had the privilege to finally attend one! Thank you Sealaska Heritage Institute!
Tlingit Names in Formline
Jun 25, 2015 | Honoring Others, Tools-of-the-Trade, Uncategorized |
My 50-year-old antique sewing basket was given to me for my 9th birthday from my Mother, Irene Lampe
This little sewing basket has sentimental value to my life as a designer and maker of button robes, a costume designer for theatre and a seamstress who sewed all my own clothing for myself, family and friends for many years,… and now my grandchildren.
Today is our mother’s birthday. She would have been 90 years old. I don’t know if she remembers giving me this gift for my 9th birthday and I have used this little treasure box for 50 years and will most likely continue to do so until my own passing. I don’t know if she ever saw this basket at my sewing table; though, for some reason it would be nice for her to know that I have used this little treasure box and have never replaced it with anything else.
Back in March I was online searching for small sewing baskets for each of my oldest grand-daughters and to my delight, I came across some of these baskets for sale — though none of them had the plastic tray! If any of my readers happen to come across these baskets (that include the plastic tray), I would appreciate it if you would please contact me!
Thank you Mom, for your thoughtfulness. I have always appreciated your support.
Jun 22, 2015 | Adventures of Rear-Mirror Rissy, Health and Wellness, North Tide |
Fresh-picked salmon berries – Auke Bay, Alaska
A few Juneau Chilkat and Ravenstail weavers gather together for a meal hosted by one of the weavers at their home; then we weave afterwards. The “Wednesdaynite Weavers” we could call ourselves. A couple of Wednesdays ago, Nila and Laine Rinehart brought fresh Salmonberry pies for dessert – none of us had had this taste before; not like this!!!
Recipe for fresh salmonberry pie!
A couple of days ago, my friend Lis and I went out to her secret berry patch in Auke Bay – we picked all we could BUT we had to leave some berries behind because we didn’t have enough time nor any other containers!!! We picked enough to make about three standard size pies, or as the photo below suggests: 2 large and 3 small pies! Just in time for Father’s Day!
Instructions for making salmonberry pie!
NOTE: I suggest you cut the cardamom in half….use only 1 tsp instead of 2 tsp! In our opinion, 1 tsp of cardamom in the mixture is sufficient!
Additional notes…
Some folks may not like the unique flavor of cardamom which if I am not mistaken is a key ingredient in Chi Tea. If you are a creative baker, you may experiment with other flavors to enhance the quality of this wonderful-tasting berry pie…! Salmon berries are unlike any other berry — they are the first of our berry season in Southeast Alaska!
2 large and 3 small Salmon Berry Pies celebrating Father’s Day 2015!
Jun 21, 2015 | Adventures of Rear-Mirror Rissy, Tools-of-the-Trade |
Clarissa’s desk sports a 6-year-old Samsung “SyncMaster XL2370” monitor linked to her 6-year-old MacBook
10 years ago, I didn’t even know how to turn on a computer. I refused to spend any time in the world of technology; like why would I need it, right? There’s only so much time in the day and I’d rather create than look at a computer screen for hours. Even though I had an official website since 1998 when most artists did not (only because my friend Cecil insisted I had a website so he created it), for the first nearly 8 years whenever I received an email from someone commenting on my work on my website, I always had to ask my kids to pull up my website to see what the inquirer was talking about and at that time it was a chore to do so! Since then, my attitude has changed. I had to surrender to the fact that every business interaction was all on line; there was no need for a hard copy of anything. Not even what’s inside my wallet.
Clarissa’s office in relationship to her living room
My attitude changed too when I began taking control of how my website required many choices: the lay out, the choice of colors, the photographs, the text, etc. I began to see the artistry of a website design. I truly appreciate having a daughter in the family who enjoys creating websites. She also encouraged me to blog nearly 5 years ago even though I initially resisted.
Clarissa’s office in relationship to her sewing space
In reality, I spend 1/3 of my year creating actual product, 1/3 doing administrative work, and 1/3 doing marketing. Creating actual artwork is the best part; maintaining the business end of keeping one’s self from being a starving artist is 2/3 the work which includes: drafting up proposals, applying for grants, responding to emails, attending to bookkeeping, keeping track of receipts, applying to do art markets or artist residencies, doing the taxes, packaging and shipping artwork, preparing for, traveling to, attending and setting up/taking down an art market, researching and ordering supplies, updating the website, photographing the art, comparing insurance, posting blog entries, maintaining the vehicle, cleaning and maintaining the work space, and filing papers, etc.
Clarissa’s office from the perspective of the kitchenette
I spend at least half of my time as an artist in business on the computer. I spend at least half my time sitting in this office. Some artists have enough income to pay someone else to do the administrative/marketing aspect. I have yet to make that kind of income to afford even a rental with running water and sewer, let alone an administrative assistant. Though some day you will know when I have an administrative assistant. She will be the one who answers the call from you!
Clarissa’s weaving area from the perspective of her office
People wonder if I even have a home. Folks want to know where I live and work because it seems I travel a lot (though I have yet to afford a vacation.). “Clarissa’s Studio” is a 9-part series showing the 9 areas of Clarissa’s studio where I work full-time and live part of the year in Pagosa Springs, Colorado. As you know by now, I remodeled a 2-car garage about 10 years ago as a studio without running water or sewer system because I had no plans of using this space as a place of residence. I had no idea that years later, because of big changes in my personal life, I would not be able to afford paying rent anywhere else. so for nearly 4 years I have weathered insufficient heat during the winter and the inconveniences of not having a real kitchen and a bathroom, until someday I can afford a real home.
Over the next three months (starting this past May), I will introduce you to various parts of my humble 700 sq.ft. sanctuary divided into sections. Here are the parts of “Clarissa’s Studio Series”:
- “The Living Room” where I play music, read, crochet, knit and clear out the coffee table to do Tai Chi;
- “The Office” where I draft proposals, emails, FB, grants, letters, update my website and post blog entries;
- “The Sewing Space” where I sew button robes and clothing for the grandkids;
- “The Weaving Space” for all my Chilkat and Ravenstail weaving projects on various size looms;
- “The Grand Table Space” where I do large layouts of robe pattern designs and cut the applique for button robes;
- “The Drawing Room” where I sketch and finalize drawings for robes, paintings, collages and book illustrations;
- “The Painting/Collage-making” where I create just that, along with printing limited edition Giclee’ prints and shrinkwrapping them;
- “Clarissa’s Kitchenette” where I zap an occasional Amy’s TV dinner for lunch and I keep a modest supply of drinking water;
- “Clarissa’s Storage Units” for beautiful and practical storage of all weaving, spinning, sewing, dyeing, beadworking supplies and recent collection of books
The first three blog entries on “Clarissa’s Studio” series include:
Part 1: “The Livingroom” at: http://www.clarissarizal.com/blogblog/clarissas-studio-part-1-the-living-room/
Part 2: “The Kitchenette” at: http://www.clarissarizal.com/blogblog/studio-part-2-clarissas-kitchenette/
Part 3: “The Drawing Room” at: http://www.clarissarizal.com/blogblog/clarissas-studio-part-3-the-drawing-area/
Part 4 — “The Beautiful, Practical Storage Unit” at: http://www.clarissarizal.com/blogblog/clarissas-studio-part-4-beautiful-practical-storage-unit/
