Aug 4, 2015 | Adventures of Rear-Mirror Rissy, Latest Art Projects, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Clarissa’s grand-daughter, Amelie models “Chilkat Child” a 5-piece handwoven ensemble to be featured as 1 of 18 Chilkat robes to be exhibited during the Antique Native American Art Show
The Antique American Indian Art Show launches at El Museo in Santa Fe’s Railyard with an opening night gala on August 17th (6-9pm) benefiting New Mexico PBS. Show dates run from August 18-20th (11am-6pm), featuring a special Chilkat Blanket exhibit – (they say) the most extensive collection ever presented!
Lily Hope, Delores Churchill and Cheryl Samuel are a part of this exhibit as well.
Come check us out on opening night Monday, August 17th; we’re gonna dress up and meet the Native Art Market crowd!
Read about the producers of this event by clicking here!
Jul 30, 2015 | Honoring Others, Tools-of-the-Trade |
A sculpture of a human wearing a Chilkat robe and cedar bark neckring by the late Tlingit carver Amos Wallace in 1964
While talking with the owner of the Haa Shagoon Gallery in downtown Juneau, in the middle of the conversation I suddenly turned around. I wasn’t even sure what I was looking for; just pure instinct led my eyes to this sculpture that totally caught my fancy. Why? I’m not sure, but as soon as I saw this figure I felt so compelled that it had to go home with a local, not a tourist, that I immediately called Amos’ grand-daughter and my friend, Donna Beaver Pizzarelli. With no answer and worried that a tourist would buy the sculpture, I snatched up this 8″ tall mold of a carving by Amos Wallace made in 1964 and I have it placed in a prestigious location: next to my weaving loom. This figure watches over me as I work. It’s great to have the company!
This small sculpture is a cast made of a plaster-like compound that gives it the appearance of wood or a stone called argillite. Manufactured by a company called Griffin’s Alaska based in Edmonds, Washington State between the years of 1964-67, they had a complete line of bowls and totems which are frequently mistaken for stone. Even the weight of this little guy feels like stone.
Amos Wallace was one of less than a handful of local Tlingit carvers here in Juneau, Alaska in the 1940’s until a few years before his passing in 2004. I grew up in the Russian Orthodox Church where he and his wife, Dorothy Wallace sang in the choir. It wasn’t until recently I discovered from his son Brian that Amos was of the Raven Moiety, T’akdeintaan Clan of Hoonah, which is also my clan! A gentle, soft-spoken man, his name was Jeet Yaaw Dustaa. Born in 1920, his older brother Lincoln Wallace, was also a carver.
Read the Juneau Empire article about Sealaska Heritage Institute receiving a collection of Amos’ drawings for their archives donated by Amos’ son, Brian Wallace at: http://juneauempire.com/art/2012-07-12/amos-wallace-collection-donated-walter-soboleff-center
Jul 27, 2015 | Class Act |
Clarissa Rizal paints on location at Eagle Beach, Juneau, Alaska during Dominik Modlinski’s plein rein class
Fellow student, Jane Lindsey came across a pile of eagle feathers neatly placed on the beach; she handed them off to me. Just the day before I had said to myself that I needed to go out looking for eagle feathers since I had given them away over the years. I didn’t want them to blow away so I stuck them into the soil in line with the four directions. Now some folks will say that is a spiritual act, and maybe it was, though I was being practical; the eagle feathers did come to me by “accident”…though my intentions to use them this way were no accident…!
Clarissa surrounds her “work space” with eagle feathers
Dominik reminds us to pay attention to the environmental factors when we are painting on site. Pay attention to the amount of wind, the sun and of course the rain. If sand blows into our painting, just wait until the painting is dry, then brush off gently.
Clarissa noticed that most of the Plein Rein students seemed to be coordinated in colors of teal and violets – even Dominik’s shirt was a deep teal…
Dominik usually gives a light wash of warm yellow background which he says provides a nice luminosity. When drafting a composition, Dominik does not use a pencil, rather he mixes a little red, blue and yellow to make a warm brown and “sketches” lightly with his brush. He uses a large brush and builds textures; this helps define space and is easy to mix paints. He says that he “shoves paint around” on the canvas board. Most of the time he starts from light to dark whether he works in oil or acrylic, though he is known for his oil paintings. He works in big strokes of paint first, then smaller strokes.
No, he never uses an umbrella.
With our beloved Chilkat mountains in the back ground, Dominik tells us about his life as a painter
He does not use sable brushes; he uses bristle brushes. Dominik suggests using Holbein acrylics, oils and brushes; excellent pigments that are made in Japan though very expensive. Holbein water-soluable oil paints are called “aqua-duo” vs. Royal Talons Cobra. The Canadian brand “Stevenson’s” is also very good; they are out of Toronto. He likes to order his supplies from Daniel Smith – he gets 15% off their prices and they are really good with prompt shipping.
Click here and read Part 1 and Part 2 of Dominik’s Plein Rein Painting Class in Juneau
Jul 26, 2015 | Class Act, Tools-of-the-Trade |
Student Carol Baker’s custom-made palette box hook directly onto the tripod as shown made by Coulter
I am always fascinated by an artist’s equipment, in no matter what the medium the artist works. Every one of us in this painting class had a different method to their madness. Before Dominik’s class officially began, I ran around looking at the different types of palette boxes the various students had; there were two that were quite innovative.
Custom-made paint brush holder made of PVC pipe hooks onto the tripod for easy access
From a compact unit, this Palette Box folds out exposing the glass plate palette in the center, drawer for paints and brushes to the left, counter and brush stand holder to the right, and easel on the “lid” — within the easel is a built-in box that can hold approximately 5 to 7 canvas boards
Here’s the paint brush holder
name of the company who creates custom-made the palette box of these last few photos
Jul 24, 2015 | Adventures of Rear-Mirror Rissy, Class Act |
Dominik Modlinski’s painting pants
Retired school principal and one of the lead organizers for the Juneau Plein Rein group, Cristine Crooks sent out an email announcement that world-traveler plein air painter, Dominik Modlinski was coming to Juneau to teach a 3-day class in mid-July. Intrigued, I checked out his website and very much liked his painting style. I weighed how much work I already had on my plate with the cost of the class and I decided that no matter what, I had this once-in-a-lifetime opportunity and I jumped in! Wow! I learned more in three days with this young man than I did in an entire year of painting class at a college!
The night before the class began, Dominik gave a presentation on his work
Born and raised in Warsaw, Poland in 1970, Dominik started painting at 6 years old. He said he always knew he wanted to be a painter. In Poland’s education system, whatever a child shows is his strongest interest, that is the avenue in which his parents and teachers guide him. Dominik has painted in the wilderness of South America, Africa, Japan, Quebec, British Columbia, Alaska and Yukon. He lives in Nanaimo on Vancouver Island and during the summers he spends his time in Yukon with a cabin in Atlin. Check out Dominik’s website at: http://www.paintingjourneys.com/
Dominik presents the color wheel and color charts
Day One: We worked indoors at the Juneau Arts & Cultural Center (JACC) learning how to mix our paints and make color charts. Fascinating! I have made color charts in high school and again in college courses and I found them totally boring, however, I have NEVER learned how to mix the colors to make these charts the way Dominik taught us; we mixed all day without a drop of boredom!
Dominik suggests using this type of disposable pallete paper
We learned Complementary Contrast #1:
Two colors are complementary if their pigments mixed together produce a neutral gray-black. Physically, light of two complementary colors, mixed together, will yield white. Two such colors are a strange pair. They are opposite, they require each other. They incite each other to maximum vividness when adjacent; and they annihilate each other, to gray-black, when mixed – like fire and water. There is always but one color complementary to a given color. In the color circle, complementary colors are diametrically opposite each other.
Examples of complementary pairs are: yellow-violet, blue-orange, red-green
In analyzing these pairs of complimentaries, all three primaries – yellow, red, blue – are always present:
yellow – violet = yellow, red + blue
blue – orange = blue, yellow + red
red – green = red, yellow + blue
Dominik demonstrates how to mix a beautiful grey using equal amounts of yellow, blue and red
Complimentary Contrast #2:
Each complimentary pair has its own peculiarities:
Yellow – Violet, represents not only complimentary contrast but also extreme dark-light contrast.
Red – Orange – Blue-green is a complementary pair, and at the same time the extreme of cold-warm contrast.
Red – Green are complimentary, and the two saturated colours have the same brilliance.
Many paintings based on complimentary contrast exhibit not only contrasting complementaries themselves but also their graduated mixtures as intermediates and compensating tones. Being related to the pure colours they unite the two into one family. In fact, these mixed tones often occupy more space the pure colours.
Notice the focused intent of Dominik’s students!
Simultaneous Contrast #1:
Simultaneous contrast results from teh fact that for any given color, the eye simultaneously requires the complementary color, and generatesit spontaneously if it is not already present.
The simultaneously generated complementary occurs as a sensation int eh eye of beholder, and it is not objectively present.
the simultaneously appearing colour, not being objectively present but genereated in the eye, induces feeling of excitement and lively vibration of ever-changing intensity.
Each of six pure color squares contains a small neutral gray square, matching the background color in brilliance. Each gray square seems to be tinged with the complementary of the background. The simultaneous effect becomes more intense, the longer the principal color of a square is viewed.
Three small gray squares, surrounded by orange:
Three grays barely distinct from each other have been used. The first gray is bluish, and intensifies the simultaneous effect; the second gray is neutral, and suffers simultaneous modification; the third gray contains an admixture of orange, and therefore fails to be modified.
Dominik demonstrates how he begins most of his paintings starting from the top working down
Simultaneous Contrast #2:
The simultaneous effect occurs not only between a gray and a strong chormatic colour, but also between any two colours that are not precisely complementary. Each of teh two will tend to shift the other towards its own complement, and generally both will loose some of their intrinsic character and become tinged with new effects.
Under these conditions, colours give an appearance of dynamic activity.
Click here for Part 2, 2nd Day of Plein Rein Painting Class with Dominic Modlinski
Jul 23, 2015 | Tlingit Culture Accentuated, Tools-of-the-Trade, Tricks-of-the-Trade |
“Frog” clasp for button robe
Here’s an easy front clasp for button robes. Fetch one from JoAnn’s for about $5 (depending on size). One was enough for this robe however, if you have only smaller size, then think about using 2 or 3 “frog” closures for the robe.
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
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 30, 2015 | Adventures of Rear-Mirror Rissy, Honoring Others, To See or Not to See, Uncategorized |
100 audience members on board the Allen Marine whale watching tour included 15 Alaskan authors and 3 illustrators, of which Clarissa was one…
I was born nearly 60 years ago in Juneau and it’s only recently twice in less than two weeks I have been invited on a whale-watching cruise; both trips were something new to me since 1) we weren’t fishing? 2) we didn’t have a port destination, and 3) it didn’t cost me a penny. And both trips were during the stretch of amazingly fine weather we had the entire month of May so it made whale watching all the more enjoyable!
Leaving the Auke Bay boat harbor on a fine early evening: 6pm. — The Mendenhall Glacier is at the base of the snowcapped mountains…
Every year in conjunction with Allen Marine, Hearthside Books hosts their “Alaskan Authors Whale Watching” tour/sail open to the public. $59/person you receive all the appetizers you can eat and a chance to hang out with friends you hadn’t seen in awhile.
Lots of appetizers including salmon spread on croissants, fresh fruits and veggies, chocolate eclairs, etc.
Even though Nobu Koch and I are not authors, we were invited guests because we are the co-illustrator’s of Hannah Lindoff’s children’s book “Mary’s Wild Winter Feast” recently published in the Fall 2014. To order a copy of the book, and check out other blog posts about this book: Click here to read about “Mary’s Wild Winter Feast.”
Hannah Lindoff, author of children’s book “Mary’s Wild Winter Feast” introduces her illustrators, Clarissa Rizal (left) and Nobu Koch
Alaskan author Heather Lende, introduces her latest book “Find the Good”
Humpback whale
Ishmael Hope reads a requested poem from his book of poetry called “The Courtesans of Flounder Hill”
Chief Editor Jeff Brown introduces his latest edition of “Real Alaskan Magazine” which he publishes annually on April 1st.
Kim Heacox introduces his latest book “Rhythm of the Wild”
Alaskan Whale Watching Cruise – fluke
Writer Hannah Lindoff, Illustrator Nobu Koch, writer/poet Ishmael Hope
Hannah Lindoff, Nobu Koch, Clarissa Rizal
Author Mary Lou King introduces her latest “90+ Short Walks Around Juneau”
Authors Peter Metcalfe and Kathy Ruddy introduce “A Dangerous Idea”
Children’s book author Sarah Asper-Smith and her husband, illustrator Mitchell Watley introduce their book “I Would Tuck You In”
Sea lions cluster along a rock slab coastline of Admiralty Island
Many enjoyed the back deck in the second consecutive week of sunshine!
Last but not least, Juneau author Stuart Archer Cohen introduces his 4th novel “This Is How It Really Sounds”
