Jun 8, 2015 | Latest Art Projects, Ravens & Eagles, Showing Off, Tlingit Culture Accentuated |
Raven Button robe is a collaboration of designer Preston Singletary and sewer Clarissa Rizal
A couple of years ago, I wanted to make some button robes, but I didn’t feel like designing them. I guess I was just feeling lazy! So I did what I’ve never done before – I asked another artist for designs! I called up my friend Preston Singletary and asked him if he had any designs on hand that were suitable for button robes. He sent me two; one of the robes is now owned by Crystal Rogers Nelson and the other one is this one: Raven. Made with black and red wool melton cloth and some of the thousands of antique mother-of-pearl buttons I have been collecting for a good 25 years. Little does Preston know that we are 2 of 11 Native American artists invited to submit something for an exhibit that is traveling Russia for over a year.
“Woven Together” is an exhibit intended to share a small part of Native American culture with Russians in the Urals. This will likely be the first exposure to Native American culture for many who visit the exhibit. Typically, the Consulate supports such artistic exchanges in order to encourage contact between Russians and Americans and to promote interest in the diverse people that inhabit the U.S.
Clarissa Rizal sorts antique mother-of-pearl buttons for the Raven button — a collaboration between designer Preston Singletary and button robe maker Clarissa Rizal
The exhibit will travel to three cities in Russia – Yekaterinburg, Orenburg and Surgut. In all three cities there will be opportunities to show objects in display cases as well as on the walls.
Yekaterinburg is an industrial city and the capital of the Urals. Previously, they have hosted an exhibit of Native American photography.
Orenburg is a remote city in the south of the Urals that is simply interested in learning more about other cultures. This will be their first time hosting an exhibit the American consulate and they are very enthusiastic.
Surgut is a city located in a region that is home to the Khanti and Mansi peoples. The region is committed to preserving and honoring the cultural heritage and traditions of the Khanti and Mani peoples, and they are particularly interested in the Woven Together exhibit to learn more about Native peoples in the U.S.
Corners of “Raven” button blanket made by Clarissa Rizal designed by Preston Singletary 2015
Jun 4, 2015 | Uncategorized |
Amongst 6 other weavings on 6 looms, Nila Rinehart sketches out her pattern for a small child-size Chilkat robe
Since 1989, I have taught at least one class per year; and every year since 1992, I have spearheaded an informal group of Chilkat/Ravenstail weavers gathering. This year, my long-time friend Margie Ramos hosted this class at her vacant apartment. Cozy and warm, it was the perfect thing to conduct the class! Thank you, Margie!
All the students eagerly await the cutting of the birthday pie; My long-time friend of 50 years, Margie Ramos (2nd from right), baked me a blueberry/pear torte L to R: Laine Rinehart, Catrina Mitchell, Nila Rinehart, Karen Taug, Margarget Ramos & Crystal Rogers Nelson
This particular class requirements were: 1). Must have prior experience in weaving chilkat and/or ravenstail, 2) must have a project on the loom ready to begin weaving, 3) weaver is female, must have reverence and gratitude for the style of weaving, etc. 4) must have own pattern or the ability to draft up a pattern (no matter how crude or excellent it can become), 5) Bring sense of humor
Crystal Rogers tries to fix the curve of her Chilkat face’s outer lip
Such a fun class as usual, I am very proud of each weaver’s work and the self-directed project each would like to complete. That’s what this class is all about: tapping into your own inner drive, being aware of your goals, and making the necessary steps to complete your goal.
Karen Taug is terribly happy and content about returning to her Chilkat weaving of a headband
Chilkat weaving isn’t for everyone, though for those who enjoy the weaving process; those who have come to know the weaving and it comes to know you, we find it’s truly a spiritual practice.
Lily Hope explains counting the number of warp ends to her inquisitive children Bette and Louis
In 2017, I have every intention of beginning to teach young girls. My goal is to rent a place in Haines for the a month or two during the Summer 2017 with all three of my kids and their kids (at this time, 7 grandchildren). The three oldest grand-daughters will be 9 and 7; these are the perfect ages to begin teaching them the discipline and art of Chilkat weaving. I would like my children/grandchildren to experience a Tlingit holistic approach to weaving which will include not just drawing the design and preparing the wool to spin, but also, berry picking, fishing, putting up foods for winter, etc. I will have three grand-daughters in this very first children’s class; I will be keeping my eyes and ears open for two more girls around the same age. If you have any recommendations of any young girls who may be interested, let me know!
Nila Rinehart drafts a second pattern for her child-size Chilkat robe with on-lookers Lily Hope (with daughter Eleanor), Crystal Rogers Nelson and Laine Rinehart
Shgen George (with daughter Elizabeth) nears the completion of her black border of her Chilkat robe.
Shgen George came hours earlier for a couple of days to gain as many hours as she could, beyond the class hours. Clarissa Rizal’s Chilkat robe hangs to the right; she begins shaping the background in her design field
May 25, 2015 | Tlingit Culture Accentuated, To Market To Market |
The new guy on the block: Haa Shagoon Gallery features local Northwest Coast arts and crafts
Haa Shagoon Gallery recently opened it’s doors on May 1st this year featuring mainly Northwest Coast art from locals as well as anywhere else along Southeast Alaska and West Coast Canada, though one can find antique woven grass baskets, carved ivory and baleen from Alaska’s far north. Owner Don Morgan says he has sold twice as much artwork since the first two weeks than he did in two months at his other location in the Senate Building just a couple of doors down from his new location!
Owner Don Morgan of the Haa Shagoon Gallery
Haa Shagoon is a Tlingit phrase meaning “Our Land.” Haa Shagoon features artwork from about 20 Alaska Native artists including Jnu Didrickson, Boyd Didrickson, Debra O’Gara, Kay Parker, Ray Peck, Brian Chilton, Irene Jean Lampe, Lily Hope and Clarissa Rizal, to name a few. Items available for sale include carvings of totem poles, plaques and masks, Ravenstail robes, aprons, headbands, limited edition silkscreened and Giclee prints, silver, copper and gold jewelry, pottery, etc.
Everybody’s talking: Artists Jnu Didrickson, Israel & Sue Shotridge, Don Morgan
Generally every day, Haa Shagoon features an on-site artist demonstrating their work; sometimes there are two or three artists, yet always at least one, Most of the artists are locals who live in Juneau, but on occasion Haa Shagoon may feature an out-of-town guest artist spontaneously dropping in and demonstrating for the day! Jnu Didrickson is a regular demonstrator working in carved wooden masks and silver jewelry.
Haa Shagoon Gallery is sandwiched between El Sombrero Restaraunt and the Alaskan Hotel on South Franklin Street, Juneau, Alaska
On special occasion Chilkat or Ravenstail weavers may get the notion to demonstrate the weaving technique, just so we can “get out of the house!”
A Chilkat weaving demonstration took place on Memorial Day weekend, Sunday, May 24th with (L-R) Lily Hope, Clarissa Rizal and Irene Jean Lampe
I have approximately $60K worth of inventory featured at the Haa Shagoon Gallery; they carry the most work I’ve every had in any gallery at one given time in the past 15 years. They feature a variety of my work created in the past 3 years including, 5-piece woven ensemble “Chilkat Child”, the “Egyptian Thunderbird” button blanket, the 6-foot “Totemic Theories” charcoal on canvas, “An Ocean Runs Through Us” limited edition Giclee triptyck, and a wide selection of limited edition Giclee prints.
Front entry of Haa Shagoon Gallery
Haa Shagoon does a 70/30 commission; when an item sells, the artist receives 70%, Haa Shagoon receives 30%. Most galleries do a 50/50 split. Contact Don Morgan if you are an artist interested in Haa Shagoon carrying your work, please give Don Morgan a call on his cell at: 907-209-1501
May 14, 2015 | For Crying Out Loud, Honoring Others, Tlingit Culture Accentuated, Uncategorized |
Preston Singletary double-checks the accuracy of the most recent panel installed
Two years ago, when I heard through the grapevine that Sealaska Heritage Institute was planning on building a cultural center where the old Juneau Lyle’s Hardware once was, I got excited and thought of a couple of artist buddies of mine who I felt needed to be represented in the new structure. So I called up Preston and said he needed to get his foot in the door and make sure SHI has a monumental piece of his work. He asked what I had in mind. I asked him what would it take to construct a life-size, glass house screen front. He chuckled and said that the Seattle Art Museum’s house front was as large as he thought he could do. I said I thought it needed to be larger; he laughed again. He agreed that he would check out the engineering logistics with his production crew: could it be done? After some research with his production and installation teams, the answer was yes!
The paper pattern of the complete house front design
We spent a week or two drafting up a proposal for SHI; it would be a collaborative project since I’ve had some experience in glass work with Preston years prior and I am a fairly good designer (with always room for more improvement!); Preston and I felt pretty good about submitting the concept. A few months later, though both of us submitted the proposal as a team, he received a letter addressed only to him from SHI stating they liked the concept though they did not want my design concept. We both thought it weird that SHI made no statement about “working with Clarissa” on what design they wanted on the house front instead. They simply stated they didn’t want my design (which I interpret as my name) being associated with the glass front. After reading the letter a couple of times, I knew what “they” were up to. I knew “they” didn’t want me in the picture; they wanted a close relative instead, and I had an inkling who that particular relative was.
The “clan house” inside of the new Sealaska Heritage Institute’s “Walter Soboleff Cultural Center” (In 2001, I wove the Chilkat robe laying on the bench; Preston recently acquired it from the original owner)
Preston asked me if I felt okay about him going ahead on his own instead of the initial teamwork we had planned. I told him that initially I wanted him to have a piece of his work represented in the cultural center, so even though he could have told SHI that we were working as a team, I told him to go on without me because I knew SHI would come up with whatever reasons to not have my name associated with any monumental art in the cultural center, and I wanted to avoid any further denials.
The installation of the 17′ x 12′ screen was created in panels — Preston sets the next plexiglass plate
About a year later in the Fall of 2014, SHI sent out an announcement requesting apprentices to work with Preston on the glass panel. Of course, I did not apply. I knew SHI already had the person(s) selected, one of them being the young relative to SHI’s president. The call for apprentices was the legal procedure they had to endure. Preston was given no say who his apprentices would be though he was very happy Nicholas Galanin was “chosen.”
How many guys does it take to screw in a 17′ x 12′ screen?
You, the reader, may interpret this blog entry as a bitter response to being edged out. You may also think that I write about these kinds of sensitive issues on my blog or elsewhere. Not so. This may be the first time (and most likely not the last) I have written about an unjust act on my blog. I may speak about unpleasant injustice or opinions to others face to face, but I am not one to write about injustice, especially in an art blog.
However, I have made an exception because I realize I made a mistake in the course of this story. There is no one else to blame about me not being “included.” When SHI “edged me out” of the art project, and I had told Preston to go on without me; I was not honoring myself as a one-of-a-kind, female, Tlingit, full-time artist of nearly 40 years; this is where I made a big mistake. There’s no other Tlingit or any other female artist out of all the Northwest Coast tribes, who lives now or lived before my time, who has ever accomplished all that I have designed and created in a variety of works. I realized that even now there is no other Native female artist from Alaska who comes close to my caliber of artistry. As the elder from the western TV film series would say: “…no brag, just fact…” How am I to be honored by others if I am not loyal to myself?
4 more glass panels to install
This particular story is a big lesson to myself. My mother always said I was too generous with others and that I always “sell myself short” and when people recognize this, there will always be those who take advantage of people like me without intention of giving back. This concept did not ride home to me until I saw a few photos of the making of this art installation on Facebook. I felt a ton of bricks crashing into the core of my being. I was depressed for a few days; I let myself down, but I looked within myself for my answers.
In white gloves…
So why do I tell this story here? It’s for me. First, this story is to remind myself of how I have been all my life; it is to remind myself to forgive myself for not honoring myself, not being loyal to who I am and what I do and what I have become and continue in my human becoming. Second, I tend to forgive and forget, even this is a lesson I must learn and retain, else I repeat the same pattern, going through the school of hard knocks and never earning any credits. Why do we need to acknowledge and earn our credits? So we can “graduate!” Hello!? — I have always said “Patience Is Worth Waiting For” and this definitely applies to the patience any of us need as we continue to “grow up!”
Preston with his professional installation crew: Jeremy Bosworth and Joe Benvenuto
Though this was a big lesson to go through regarding this project, I bear no hard feelings towards SHI nor Preston. Like anyone else, they have nothing to do with my self-worth. I had a wake-up call about my lack of self-respect, loyalty to self with honor. Although SHI has hired me to do small projects like book covers, I have known for awhile where I stand with SHI regarding large projects whether they benefit me and/or others; I have learned to work around them because I just want my ideas put out there and get done. AND, I am proud of my friend Preston and his great piece of work. The inclusion of his work was my initial idea; my friend is now represented in the art collection of Sealaska. What more can I ask for? I helped him get there, and I can pat myself on the back for this!
Read more about the details of this art installation online at the Juneau Empire:
http://www.capitalcityweekly.com/stories/052015/ae_1248671002.shtml
Apr 23, 2015 | For Crying Out Loud, Latest Art Projects, Showing Off, Tlingit Culture Accentuated, To Market To Market, Tools-of-the-Trade |
Northwest Coast Tlingit graduation cap designed by Clarissa Rizal painted and modeled by Ursala Hudson at her BA graduation — 2014
I have a new website with a few new tweaks to my blog, just launched last week on April 13th; I HAVE GRADUATED to a simpler, cleaner, and easy-to-navigate format to update: It’s time to celebrate! (Most artists that I know would rather spend their time creating instead of working on the computer, so the easier and faster computer time, the better for us all…!)
This is my fourth website since 1998; the first was created by my friend Cecil Touchon (www.ceciltouchon.com) nearly 20 years ago when there were not very many Native American artists’ websites.
I have been blogging since July 2010, nearly 5 years! Unlike the past blog entries randomly posted when I could fit in the work, I will post new blog entries 3/x weekly with this schedule:
- on Mondays and Thursdays and Saturdays by 12 midnight (Alaska, Pacific or Mountain time — all depends on where my business travel takes me!).
Blog posts will include the usual latest projects, art business travel, tools of the trade, people, classes, health topics, etc., though to continue helping out my fellow weavers in a more efficient manner, I have added a new section to my categories (column on the right) called “Tricks-of-the-Trade.”
All photographs on my website and blog were shot by myself unless otherwise noted.
- For over 20 years, most of the photographs of my button robes and my chilkat weavings were taken by professional photographer Jeff Laydon at www.pagosaphotography.com.
- I make an effort to give credit to any other photographers.
- Thank you to my ceremonial robe models the late Russ Eagle and my grand-daughter Amelie Haas.
- My friend Russ had been modeling for me for nearly 15 years until his passing in 2009.
- Five-year-old Amelie had her debut this past March modelling my “Chilkat Child” 5-piece weaving ensemble.
I have begun formatting my photographs larger; people want to SEE!
- I also will aim towards shooting more interesting shots, maybe at different angles
- maybe I’ll even tweak them too, because I CAN!
- Click photos on my website to enlarge; the blog photos are what they are
- Ursala says I ought to buy myself a SLR camera to produce better photos, though at this time I cannot afford spending $500-$1000.
- Blogs and websites are much more interesting with better photography and golly, shooting from my old iPhone I guess just doesn’t tickle anybody’s fancy does it!
- Hold on, dear readers, the money for a real camera will come some day!
As time permits, I will be adding one more topic to my website: a “Tributes” page to honor mainly Tlingit elders who have helped me on my path as a full-time Tlingit artist for nearly 40 years. My “Tributes” page will include those of have passed including:
- grandparents, Juan and Mary Sarabia
- parents William and Irene Lampe
- very first mentor/teacher Tlingit chief from Yakutat, Harry K. Bremner, Sr. who gave me my very first sewing lessons along with Tlingit song and dance instruction, and
- mentor/teacher of Chilkat weaving, Jennie Thlunaut
- my apprenticeship with Jennie Thlunaut
Thank you to my daughter, Ursala Hudson for working hard last weekend to create and launch my website by my deadline! Check Ursala’s graphic design/web design work on her website at: www.whiterabbitstudio.us
Apr 13, 2015 | Latest Art Projects, Showing Off, Tlingit Culture Accentuated |
Clarissa begins preliminary sketch of her next Chilkat robe entitled “Egyptian Thunderbird” – © Clarissa Rizal – March 2015
I have started weaving my next Chilkat robe for the Thunderbird Clan. This is all I am saying for now. Stay tuned for periodic blog entries on this robe for this next year…!
Approximately 750 yards of 10 e.p.i. warp is needed for this Chilkat robe measuring 60″ w x 51″h – all warp prepared and spun by Clarissa Rizal
Clarissa’s weaving loom, balls of warp, weft yarns, warp stick and weaving supplies – April 11, 2015
The first 6 to 7 rows of a Chilkat robe are always done in white; this depth is to accommodate the fluffiness of the fur trim added to the top edge of a Chilkat robe. – Clarissa Rizal – April 2015
Apr 9, 2015 | Adventures of Rear-Mirror Rissy, Class Act, Honoring Others, Tlingit Culture Accentuated |
Yukonian and Alaskan Chilkat and Ravenstail weaving students hold their wooden “warp sticks” along with dancers wearing Chilkat and Ravenstail robes (“Diving Whale” Chilkat robe woven by Clarissa Rizal, “Copper Child” woven by Lily Hope & Clarissa Rizal, “Grandmother’s Time” Ravenstail robe woven by Ann Smith — Kwaanlin Dun Cultural Center in Whitehorse, Yukon Territory – June 2013
Today, as I was doing some research on line about other Native American, Alaskan artists or Ravenstail and Chilkat weavers who may have blogs, I came across this article from Radio Canada International’s website:
http://www.rcinet.ca/en/2013/07/10/chilkat-and-ravenstail-weaving-renewed-in-yukon/
Ann Smith and I taught this class nearly two years ago; she taught Ravenstail and I taught Chilkat. It was a blast. It feels real good to help inspire the local Yukon weavers to come back to their “woven” selves. Ann and I met when we were young like most of these gals nearly 30 years ago. Little did we know then that we would be helping to revive our nearly-lost weaving traditions. Who woulda known, eh?
Mar 26, 2015 | Health and Wellness, Poetry Alaskan, Tlingit Culture Accentuated, Tools-of-the-Trade |
Whenever I can, wherever I sleep, I place the foot of the bed at the window, so i awaken to nature and the first crack of dawn — view of Teslin Lake — July 2014
After nearly 40 years of writing my artist statements, and of all the responsibilities I have done in running an artist business, the writing of statements is the most challenging; I’d rather do my IRS taxes or shrinkwrap my prints, or go to the dentist than write an artist statement! I was even challenged a couple of months ago when at the request of one of my students’ assignments from her art instructor had to choose someone who had influenced her to become an artist, I wrote a brief bio explaining when I began to do my art and why. Even THAT was a challenge, although when I had completed the bio, I was somewhat pleased. (Here’s the link to the bio: http://www.clarissarizal.com/blogblog/birthday-bio/ ).
Even now after writing this artist statement, I asked myself why do I have a difficult time with bios and artist statements? Answer: I don’t like WRITING about myself. (Hey now, for those of you who know me and how much I can TALK about myself, that is very different than WRITING about my self!) When I talk about myself, it is easier because I am talking about the present or the past, I can express myself with animation, and I generally have human responses and conversation. When WRITING about self, it’s all about ME. It’s all about what looks good on paper; how I can (or cannot) articulate my process, articulate my inner sanctions, articulate my inspiration, passions, ideas, and remedies to turmoil and celebrations of achievements. It’s all about making the time to articulate. It’s all about how well I can articulate! And what the heck, I have lots of things I want to DO than spend my time ARTICULATING on paper!!! Articulating through conversations, classes, lectures and presentations is no problem; I do it all improvisationally anyway and it’s always accompanied by storytelling and animated movements, and I ENJOY MYSELF. However, writing about myself has yet to become enjoyable. I repeat, I’d rather do my taxes or even go to the dentist.
Anyway, here’s my latest artist statement. Let me tell you, it was a challenge to write this.
“When awakened by the first light of dawn, my mind filters itself slowly back to this reality while catching up to a body already shaking its legs with enthusiasm to start another day of creating, though dares not because spirit is still in that “delicate time in the in-between” where visions reveal themselves more clearly as I lay quietly, these things “await in the eaves” yet to be created. Those close to me come to understand it is best to leave me alone for up to a half-hour first thing in the morning; disturbing this fragile state of spirit will disrupt the visions of new weavings, new button robes, and new paintings yet to come. It is also a time of communing with those that have long passed, those that I know presently, and those that I will come to know. The things that return with me upon awakening have been manifesting themselves in this reality since birth. Yes, I keep a pen and small notepad on my bedside table.
Rainbow Glacier at the mouth of the Chilkat River – Haines, Alaska – July 2014
Creating every day on 6 hours of sleep per night is normal; I’ve been this way all my life. I create from the time I wake up to the time I collapse in bed 18 hours later. My normal is defined as having many things going on at once: there are three weavings on three different looms, a draft for a new Chilkat robe design, a buttonrobe on the sewing table, paintings half complete, and preps for new collages; but wait I still have to respond to an RFP, fish our Alaskan waters and pick the best wild berries in the world to put up for winter, instigate Chilkat gatherings and retreats, conjure up proposals for collaborations with other artists, terrace the driveway, build, draw or sew with my grand-children, draft another artist statement, prepare for storytelling or lectures, rehearse with the band, plant a tree nursery, sew Easter clothing for all the grand-children, etc. These activities “feed” one another, in turn they feed my spirit and I soar. When I soar, it’s contagious; everyone around me soars.
Totemic images in cement, at Svenson’s home in Wrightwood, CA – December 2014
Being a Creator is nothing new; look around at how the Great Creator is in constant state of flux, expansion and chaos. Artists are no different; we are a “chip off the old block.”
Within is a drive where there is no choice but create. If I did not create, little by little I would literally die – ask me how I know. First my spirit would dwindle, then my emotions depressed, subside, and eventually stagnate. Lastly, my body would shrink, the fire light in my eyes would extinguish, and my breath, expire. While in the midst of this decline, we could call this the “walking dead.” Though, as if the drive within would allow this atrocity to happen? No way. I am vision. I am one of millions of visionary vessels from which creation flows, and to add to my blessings, I am born to a landscape, people and culture rich with beauty, diversity, strength and community – gratefully we Tlingit are grounded within the guidance of our ancestral customs, traditions and relations.
Chilkat and Ravenstail weaving class, under the “sun” in the Elder’s Room of the Kwaanlin Dun Cultural Center, Whitehorse, Yukon – June 2014
Chilkat weaving offers a meditative, spiritual practice similar to repetitive movements in Tai Chi. Woven from mountain goat wool and cedar bark, Chilkat weaving allows me to bring order in creative chaos as if the supple, compact twine of the yarns gliding through my fingertips were the pattern of a spider’s web, weaving new paths within the web of the brain, ever expanding to new horizons, new ways of thinking, and new ways of being, which in turn brings internal strength to the weaver; this naturally and gradually affects every relationship she has with others and self in good ways. Ask me how I know. This process and outcome is one of the main reasons why I teach our traditional Chilkat weaving to our women. For nearly 30 years, periodically, I have left my family and the comforts of home to gather, teach and support our generations of weavers. I remind and inspire our women to use their feminine intuition to converge with the realms beyond our seeing eye; in goodness, we help bring the past into the present, and present into future. When our women are healthy and strong, our world within and without, moves towards peace and happiness.
A circle of clan leaders, carved and painted totems just outside the Cape Fox Hotel in Ketchikan, AK – November 201
It is as though the warp yarns that hang down on our looms is our “veil between the worlds.” We understand the weaving of a Chilkat face puts us in touch with our ancestors. In a conversation with my friend and Chilkat weaver, Suzi Williams: “…when we weave the eyebrows, expressions are shared; when we weave the eyes, suddenly, we can see into their world and they can see into our world; when we weave the nose, lives breathe into our own keeping us alive and vice versa; and when we weave the mouth, we are able to finally communicate fully.” While we are weaving a Chilkat robe, many of us have expressed the uncanny feeling there is a presence standing invisibly behind us, ever supporting us. It is not until a weaver weaves the ultimate, a Chilkat robe, that she understands and feels the spiritual connection and some of our weavers may begin to understand a large aspect of her life’s purpose.
The many braids in weaving the “Resilience” Chilkat robe by Clarissa Rizal – April 2014
A Chilkat robe is a year in the making. Most of us no longer have the patience to devote this length of time to anything. We live in an instant-gratification world; we are no longer conditioned to sit quietly for 2000 hours as we contemplate our lives, let alone our livelihood. Before Chilkat came to me, I had very little patience. I would not create anything unless I knew I could do it in a day. After learning Chilkat, I gained the art of patience, the way of gratitude, and the act of compassion. The universe opened its doors with a flood of information; the kind of information not definable, yet powerfully written in our Native art, in the ways of our people, and in our commune with nature. When a Chilkat robe is completed, a totem pole raised, or a canoe on its virgin sail, new and old songs are sung with a celebration of dancers and a feast to commemorate the story “written” in our art. Our way is an holistic approach to creating art while documenting our history.”— Clarissa Rizal, March 2015
Mar 25, 2015 | Showing Off, Tlingit Culture Accentuated, To Market To Market, Uncategorized |
Amelie dances “Chilkat Child” 5-piece Tlingit woven ensemble woven by Clarissa Rizal – 2015 – all photographs by Jeff Laydon of Pagosa Photography
In the Summer of 2012, I had a couple of weaving apprentices come live with me for a month. All three of us started child-size Chilkat robes (with the intention that the child robe could also be worn by an adult as a dance apron). Over the past 2.5 years with all the other projects, a couple of commissions, travel for weaving classes and gatherings, family, etc., I finally completed this ensemble. I chart my time; it took a total of 5 months to weave this ensemble. The only way to make myself get a job done is to give myself a deadline, usually the deadline is an art show, a dance performance, etc. This time the deadline to complete the entire ensemble was by the Heard Museum Indian Art Fair and Market the weekend of March 6th this year.
Back side of Chilkat Child dance robe – Size 3T – woven by Clarissa Rizal 2015
I used four shades of blues, three were hand-dyed by myself, the variegated blue was dyed by a company in Sitka, Alaska. I used one shade of blue just for the braids. To distinguish the braids from the weavers, it was Jennie’s trick-of-the-trade to use two different shade of blues, one for the weaving, one for the braids! Also, I included curlique shapes in the design form; they represent seaweed, yet also I just wanted to see if I could actually weave the tight curls; they are not necessarily easy to weave, so believe me (which I rarely use that phrase), weaving the curliques in the leggings and the apron were a challenge!
Close-up of Chilkat dance apron and Chilkat/Ravenstail dance leggings – Size 3T (fot small child) – woven by Clarissa Rizal – 2015
I also used three different shades of golden yellow and two shades each of the white/off-white and black. The fringe on the apron, headdress and leggings were trimmed with .22 bullet shells, and all the pieces are trimmed with sea otter fur. Except for the robe, all the pieces were lined with leather with twisted fringe.
“Chilkat Child” torso (hat and upper front part of Chilkat robe – woven by Clarissa Rizal – 2015
Thank you to my 5-year-old grand-daughter, Amelie Soleil Haas for being such a natural-born model. She was easy to work with, took instruction well, and made my little “Chilkat Child” look better than ever!
Grand-daughter Amelie models “Chilkat Child”, with the weaver of the ensemble, her Grandma “Rissy” Clarissa Rizal – March 2015
Folks wonder how I get so much done: Most people who see me out there in the world being friendly and cordial and seemingly always traveling, wonder how I have time to work…well, there’s an explanation for that: when I hole up inside my studio for about 7 months out of the year, I do nothing else but work, work, work–produce, produce, produce. I have a zilch social life; I don’t watch TV except Netflix movies while I am preparing bark, splitting wool, spinning or grooming warp, and I don’t entertain because I don’t have facilities or room to entertain. I tend to be goal-oriented. I like setting goals and achieving them. And as any of you who know me well, I have always had many, many goals to achieve, all at once; there are things to take care of, things to design and make, places to go, people to connect with and bills to be paid! My motto: “Getterdun!”
However, once I am “out of my rabbit hole” and in the world, I am truly out there, but nevertheless doing work, just a different kind of work. It’s my “social work” which generally involves helping with the grandchildren, spending time with friends, networking, traveling to do shows, or teach classes or apprentices, buying supplies and equipment. This life is the way I make a living. It’s been this way for 39 years, it’s too late to get out of it now!
Mar 11, 2015 | Adventures of Rear-Mirror Rissy, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Sue and Israel Shotridge enjoy one another; Clarissa Rizal’s “Chilkat Child” won Best of Class at the Heard Museum Juried Art Show, Phoenix, AZ – March 2015
Doing art markets alone is not as much fun, however if you get along with other artists who may want to do the show alongside with you, like Sue and Israel Shotridge, it’s so much more fun! We had a blast! This was their first year at the market; this is my third year. We were two of 600+ Native American artists featured at the Heard Museum Native Art Fair and Market usually held the first weekend in March; this was the Heard’s 57th year. Sue and I were not quite a year old when they first started this fair! There were also a few other Northwest Coast Native artists at the Fair, though not many of us: Dolly Garza, Diane Douglas-Willard, and Zoe Urness.
Shotridges and Rizal combine their “gallery space” in each of their 10′ x 10′ booths at the Heard Museum Indian Art Fair and Market, March 7 & 8 – Phoenix, AZ, 2015
To be a part of the fair, the application process starts each year in July. To qualify, you must be at least 1/4 Native American with proof of your CIB (Certificate of Indian Blood), there’s a $25 application fee, the largest, 10’x10′ booths are $500, you must provide a resume’, and 10 images of your best work within the last 3 years. It’s easy for myself because I have established a large body of work over the past 39 years, though for emerging artists, the application process may be intimidating; however, keep your faith in yourself, put your best foot forward, and if you have nothing major to show for yourself, then get on the ball and produce some work before the Heard Museum deadline for application! Get it together, step up to your plate that’s waiting to “feed” you! It’s up to you!
Israel Shotridge drums and sings a clan song to an audience in his booth at the Heard Museum Native Art Fair & Market, Phoenix, AZ – March 2015
A select group of the booths at the Heard are 10′ x 10′. The Shotridges and I took down the canvas wall that divided our booths; we wanted to be able to converse and especially have more light AND give buyers and opportunity to “step into our gallery.” —- These shows can be a lot of work. It took three hours to set up my simple booth below. It took three hours for the Shotridges to do the same. Yet there is a simple pleasure in the accomplishment of making our space look inviting, and in our opinion, it really is like setting up a temporary outdoor “gallery.”
Clarissa Rizal’s “little gallery” art booth at the Heard Museum Native Art Fair & Market, Phoenix, AZ – March 2015
Outside of winning ribbons and with the intent you will sell some work to help offset not only your costs but pay some of your bills for the next few months, one of the best parts (for me) about doing shows are the variety of people we meet from all walks of life and the invites to other shows and events, or invites to artist retreats or residencies, and not to mention the up-and-coming artists who look to you for guidance and advice. Generally speaking, I think people like to be needed; it gives us another sense of self-worth!
Recent glassblown pieces by Tlingit glassblower Preston Singletary at his annual art show held the same week as the Heard Art Market, at the Blue Rain Gallery in Scottsdale, AZ
Jeremy Frey won Best of Show for his magnificent basket, Heard Museum Juried Art Show, March 2015
Carver Israel Shotridge and Glassblower Preston Singletary
Sue Shotridge takes a photo of the award-winning bentwood box carved by her husband, Israel Shotridge — Heard Museum Juried Art Show and Market – March 2015
Clarissa Rizal and Sue Shotridge sport their cedar bark hats woven by Haida artist Merle Anderson – March 2015
Beadwork close-up by beadwork artist Marcus Amerman – (I am partial to the Chilkat emblem in dead center!); Heard Museum Juried Art Show & Market, March 2015
Marcus Amerman’s beaded “Smithsonian” piece at the Heard Museum Native Art Fair Juried Art Show, Phoenix, AZ – March 2015
Adrian Wall’s sculptures in blown glass and stone at the Heard Museum Native Art Fair & Market, Phoenix, AZ – March 2015
