Oct 1, 2013 | North Tide, Showing Off, Tlingit Culture Accentuated |
The photos in this blog entry represent a few public art created since 1987 to present day. (No, they’re not in chronological order according to date completed). Some of these art installations are carved, painted, inlaid; some are beaded sculptures using 4mm and 6mm Czech fire-polished and Austrian crystal beads; and some are hand-sewn wool fabrics with buttons and seed beads.
“Dancing Northern Lights” – Anchorage Senior Living apartment complex atrium, Anchorage, Alaska Czech and Austrian Crystal beads, 4 to 5-foot lengths by 35 feet of beadwork
“Going to the Potlatch” – MV Kennicott cafeteria, Bellingham, Washington – carved, painted, airbrushed, beaded & button work – 4.5 feet high x 15 feet wide
“Salmon Return” – Mt. Roberts Tramway stairwell, Juneau, Alaska – Czech and Austrian crystal beads – 4.5 feet wide x 28 feet long
“Salmon Return” detail
“Shaman With Spirit Guides” – SEARHC (Southeast Alaska Regional Health Corporation) foyer, Sitka, Alaska – carved and painted central panel, hand-sewn applique and mother-of-pearl buttons on wool – 4.5 feet high x 15 feet wide
“Following Our Ancestors’ Trail” – Alaska Native Medical Center hospital 2nd floor entry, Anchorage, Alaska – carved, painted, airbrushed, copper in-lay, mother-of-pearl buttons, brass brads – 9 feet high x 11.5 feet wide
Sep 28, 2013 | North Tide, Showing Off, Tlingit Culture Accentuated |
the character with the spear represents “..represents .gathering from the sea”
“Following Our Ancestors’ Trail” was the theme for the Sealaska Heritage Institute’s “Celebration” in 1992. We created a hand-silkscreened poster with this image. This carving for the Alaska Native Medical Center in Anchorage, Alaska is on the 2nd floor entry. It is mounted to the curved wall of the “meditation room.”
copper pennies for the eyes….
the character carrying the “basket of berries” represents “..represents .gathering from the land…”
the character in the center carrying the copper T’naa represents the “…history, culture, arts and wealth…”
…the large character in the center design field’s face has hand-pounded copper eyebrows and eyeballs…the large image represents the face of the sun
the character with dance staff is the “elder leading the way along the ancestors’ trail…”
Mother-of-pearl buttons are nailed down with copper brads. The humans moving in the same direction as salmon…represents living with the natural cycle of life.
view of the right side of the curved wall mural of “Following Our Ancestors’ Trail…”
the inside of the “meditation room…”
full view of “Following Our Ancestors’ Trail…” – the footprints on a path, the ancestors’ trail and the path of the sun; the humans are the “rays of light” as the sun rises, life everlasting
Jul 28, 2013 | Honoring Others, Latest Art Projects, Showing Off, Tlingit Culture Accentuated |
The Mt. Fairweather Dancers from Hoonah, Alaska prepare to do their performance in honor of Huna Totem Corporation’s 40th year while shareholder members gather together at the fire pit along the board walk that leads one way to the Cannery Site and the other way to the Resturaunt
Huna Totem Corporation had sent out an RFP to their shareholder artists requesting a design in whatever medium the artist chose to represent their vision statement for the future: “…sailing the canoe of our ancestor’s into the future…” My design of a button robe was commissioned. Click here to the blog entry of the design.
(Note: In this blog entry you won’t be seeing any photographs of other activities during the 40th celebration because I didn’t attend any others due to a time constraint – I was only at the celebration for not quite an hour.)
After the first “coming in” dance, the Mt. Fairweather Dancers turn their backs against the audience to show each dancer’s clan emblem
During that same weekend of July 26, 27 and 28 was in Teslin, Yukon for the weekend demonstrating Chilkat weaving with several of my apprentices during their biennial “Kus Te Yea Celebration 2013”. (click here to read the blog entry on the Celebration event.) Huna Totem implored me to come down to Hoonah on the day of their event, Saturday the 27th, to do the presentation of the robe and explain the design; they wanted me to do this in person so I was plugged into the agenda at 1:30pm. Even though I really didn’t want to leave my students and to leave the Teslin Celebration for a day, I agreed to go to Hoonah (especially since Huna Totem has been good to me, I will do the same for them!)
Young children, Fran Franolovich, Lillian Hillman and Marlene Johnson enjoying the youth of the Mt. Fairweather Dancers
I don’t know what other events happened during the day at Huna’s 40th celebration because I really didn’t have time to partake in the events, so I cannot give you any other information other than tell you about my spectacular drive from Teslin to Skagway and the return flight from Hoonah to Skagway via Juneau and Haines. (Click here to see the blog entry on the return flight from Hoonah to Skagway.)
Huna Totem Board Members and M.C. Kenny Grant are invited to dance with the Mt. Fairweather Dancers
The drive from Teslin to Skagway was 3 hours; absolutely one of the most beautiful drives in the world! (I kept in mind that Yukon time is one hour ahead of Alaska time.) I caught the plane from Skagway to Juneau at 11:45am; it was a 45 minute flight to Juneau; then caught the 12:45pm 20-minute flight to Hoonah arriving a little bit after 1pm and by the time I arrived at the Cannery Point, it was about 1:45 and luckily the program was running a little late, I had just enough time to eat a bag of chips, briefly say hello to Kogo Hugo and meet her mother from Japan, and say hello to Florence Sheakley and check out her beaded earrings, and then it was time to do the presentation. After explaining the design (click here for blog entry on the robe design and explanation), I had about 10 minutes to enjoy the rest of the Mt. Fairweather Dancers’ performance and then I was whisked away and caught the outbound flight to Juneau at 3:30 with board members of the Huna Totem; we arrived in Juneau by 4:00. I had an hour to hang out at the consignment shop “Alaska Dames” before catching the 5:30 flight to Skagway via Haines. The pilot said he just had to take a few extra minutes and do a flight like that since the weather was so perfectly beautiful!
The flight from Juneau to Haines was phenomenal (click here to see the blog entry on that fabulous flight); the pilot took us on a scenic flight of the local glaciers in the Juneau area: the Mendenhall, Peterson and Eagle; he flew over Berner’s Bay, then across Lynn Canal up towards the mouth of the Chilkat River just south of Haines – then we flew UP the Davidson Glacier, flew around the back side of the front range of the Chilkats and then DOWN Rainbow Glacier, passed Paradise Cover (where I once had land), over Pyramid Island and then landed at the Haines airport – Holy what a flight!!!
When we flew up Davidson I cried I was so happy I unbuckled my seat belt and looked out both sides of the plane’s window; I just love this land, I love the Chilkat range, I love the Chilkat river; I so be-long here! I swear that when I die, I want my ashes spread up and down these Chilkat glaciers and at the mouth of the Chilkat River and at Paradise Cove!
By the time I arrived in Skagway, it was 7pm (that’s 8pm Yukon time). I could have spent the night in Skagway, but I just wanted to make the drive back to Teslin and wake up to another day of demonstrating in our little “weavers’ cabin” on Teslin Lake for the last day of Teslin’s “Kus Te Yea.” I got detained at the Yukon Alaska border because I got into a half-hour conversation with the border guard about politics, art, cultural integration, etc. It was already 9:30 by the time I left the border and I was getting tired. I had to pull over a couple of times to rest; I was avoiding falling asleep at the wheel. The weather was beautiful the entire day; the night was just as astounding. At this time of year, the sky does not get totally dark, so there are no stars to see, though the natural evening midnight sun light was gorgeous; everything looked “rosie.” I passed 3 cars during the entire drive from Skagway to Teslin, arriving at midnight. And there were never any cars behind me. I suppose I was the only car heading North from Skagway for those particular hours. It was eerie. I don’t think I will do that drive by myself again!
Mentor and Dance Instructor Billy Wilson rests while he watches his “children” do the songs and dances
This particular Raven Dancer knows how to strut!
The pride and unity of the Mt. Fairweather Dancers!
During my brief visit to this event in Hoonah, I looked about me at all the folks who came out to help celebrate Huna Totem’s 40th year – everyone looked so familiar even though many of the people I did not recognize. I looked about and realized that the elders that I was used to seeing were no longer; I realized that the folks who were just 10 to 20 years older than me were really not that much older than me! whoa! I am becoming one of those elders! Holy moly!
After spending an entire month with the in-land Tlingit in Yukon where there is no ocean, no ocean smell, not as much moisture in the air, I truly felt like I fit in with those people, yet, coming down to Hoonah even for an hour, I felt a true kinship with the land here too, of course with its people – my clan the T’akDeinTaan are originally from here – we were branched down from the Coho from the Alsek River in the Yakutat area – I have to remember that I am a “coastal Native” (as the in-land Tlingit define us).
M.C. Kenny Grant reads the real copy of Clarissa’s latest brochure. He was going to read from a xerox copy of the brochure that someone handed to him so he could introduce Clarissa properly when she presents the button robe she was commissioned to create in honor of Huna Totem’s 40th year; when Clarissa saw that his was a copy and not the real thing, she presented him with his own very real brochure! Kenny’s immediate response: “Hey,…this is MUCH BETTER! Now I can actually READ it!”
I would post a photo of myself presenting the Button robe that I recently completed for Huna Totem’s 40th, but I didn’t take a photo of me explaining the design to the celebration audience. I will post one as soon as someone emails or texts me a photo image of it! In the meantime, click here to see the design and creation of the button robe BEFORE delivering the completed robe to Huna Totem.
Gunal’cheesh Hoho! Thank you very much for visiting my blog and reading this entry!
Jul 5, 2013 | Latest Art Projects, North Tide, Showing Off, Tlingit Culture Accentuated, To Market To Market |
A partial view of the annual Adaka Native Art Exhibit only held for a week during the Adaka Festival – exhibitors in this section were: Coppersmith Brian Walker, Carver Wayne Price, Weaver Lily Hope and Regalia-maker Clarissa Rizal
Charcoal on canvas 6-foot column by Clarissa Rizal next to painter, Jean Taylor
Several Yukon beadworkers’ moccasins are housed below Carver Jimmie Joseph’s masks next to Clarissa Rizal’s charcoal on canvas
- Hanging up in the rafters as part of the artshow below are two Ravenstail robes woven by Ann Smith flank Clarissa Rizal’s Chilkat robe
Jun 26, 2013 | Latest Art Projects, Ravens & Eagles, Tlingit Culture Accentuated, To Market To Market |
“Eagle Raven Lovebirds” button blanket robe – collaboration of form line design by Preston Singletary and Clarissa Rizal seamstress (and she chose the fabrics and buttons) – Photograph by Ruth Borgfjord
Crystal Rogers from Juneau, Alaska modeled this button blanket at the DaZeTs’an Fashion Show Wednesday night, June 26th at the Adaka Festival in Whitehorse, Yukon Territory.
The robe is made of two types of woven cotton “tapestry-like” upholstery fabric, hand-appliqued with antique mother-of-pearl and abalone buttons.
Crystal Rogers does a slight dance during the fashion show just before she exit the stage – she was one of the best models because of her demure and mysterious “air” about her as she kept her chin down hiding her face from the bright stage lights – our grandparents would have been proud of her!
Jun 16, 2013 | Latest Art Projects, Ravens & Eagles, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Pinning the border of the button robe – the design in the background is waiting to be cut out
Couple of years ago I asked my friend Preston Singletary if he had some images suitable for making button robes; I didn’t feel like designing any robes, I just felt like getting down to the nitty gritty and get going on sewing ’em!
Preston’s design of this robe is based on our legend “Raven Steals the Sun”, bringing light to the world.
with a wet cloth placed over the cut-out applique, the heat from the iron fuses the image to the robe body
Lily Hope helps her daughter Bette (SikiKwaan) Hope take out the basting threads
With the help of Lily and Bette in April, and later with my friend Lis Saya who helped lay out the buttons and sew them down, I finally finished this robe to this point by mid-June (though it still needs the circle of buttons about the body).
“Raven and the Sun” is a collaboration between designer by Preston Singletary and seamstress Clarissa Rizal — the robe is not quite finished; it still needs the circle of buttons that goes around the entire body of the Raven
The robe worn by a dancer
Jun 14, 2013 | Honoring Others, Latest Art Projects, Ravens & Eagles, Tlingit Culture Accentuated |
Clarissa finalizes her button blanket design for the Huna Totem’s celebration of their 40th anniversary
Back in February, I was given a week deadline in a competition to draft up a design that reflected one of Southeast Alaska’s Native Corporation’s 40th anniversary vision statement: “…sailing the canoe of our ancestor’s into the future…” I don’t know if I have ever been successful at drafting up a winning design in that short amount of time, but somehow the image came very easily to me and within a day I had the proposal and design done – that’s unheard of in my experiences.
“Stitch witchery” iron-on interfacing assists in applying the cut applique to the robe body – however, this stitch witchery must have been old because the fusion to the wool fabric did not work – alas, I had to hand-baste the design down before sewing it.
The robe was presented during the Huna 40th celebration at the Cannery Point in Hoonah, Alaska on Saturday, July 27th. Click here for the blog entry.
The unfinished robe; still needs the face in the Copper T’naa, the teeth on the shark and the “mountains”
The name of this robe is based on Huna Totem’s request: “…sailing the canoe of our Grandfathers into the future…” The Design explanation is as follows:
…there are four clans in Hoonah whose crests are depicted on the canoe L to R: The Chookaneidi clan’s octopus crest, the WooshkeeTaan clan’s Shark crest, the Kaagwaantaan clan’s wolf crest and the T’akDeinTaan clan’s black-legged kitty-wake crest. In the canoe are the Raven and the Eagle moieties each holding the Copper T’naa which represents the history, culture, wealth and arts. The Eagle and Raven moeities each share in the responsibility of carrying our culture in the canoe of our Grandfathers’ into the future…”
What the robe looks like when it is on a body! – by the way, my model’s name is Dan Shanks
The cool thing about this commemorative 40th-year robe is that it can be worn in ceremony by any one from the four main clans from Hoonah, AND it can be hung on the corporate walls of Huna Totem…I really like the idea of its versatility.
After laying out the buttons under my direction, Lis begins to glue down the “Mt. Fairweather range”… which completes the robe
I never got a professional shot of the completed robe, not even a snap shot of the robe – so I cannot show you the entire robe until somebody sends me a photograph! Quick! – If you happened to be at the 40th anniversary celebration event in Hoonah and you have got a photograph of me doing the presentation, go for it and email me an image – and of course, I may want to use it in this blog entry and of course, I will give you photo credit! Thank you!
Apr 26, 2013 | Latest Art Projects, Tlingit Culture Accentuated |
The completed Ravenstail border for Israel Shotridge’s button blanket robe
Sue Shotridge is sewing a button robe for her husband, Tlingit artist Israel Shotridge, in time for the opening ceremonies of the Chief Shakes’ Clan House Renovation project in Wrangell, Alaska the weekend of May 3rd, 2013. They wanted something special for his button robe; this is it!
The preliminary drawing of the pattern for the border incorporating “Shaman’s Eyes” and “Bear Tracks”
The “bear tracks” pattern is an old traditional pattern; the ‘shaman’s eyes’ pattern was designed by my daughter, Lily Hope, which is a take-off on an old traditional pattern as well.
“Bear Tracks” pattern woven two ways – courtesy of the Ravenstail Weavers Guild booklet entitled “Ravenstail Weaving Patterns and Projects – Ancient and Contemporary” – can be purchased at Hearthside Books in Juneau, Alaska
Close-up of the “bear tracks” on top with “shaman’s eyes” below
Clarissa’s completed Ravenstail border on the weaving loom in front of the Chilkat robe she is presently weaving
The completed border will be attached to the button robe that Sue Shotridge is finishing for her husband, Israel – in time for the dedication ceremony of the Chief Shakes’ clan house renovation next weekend of May 3rd in Wrangell, Alaska
Nov 11, 2012 | Adventures of Rear-Mirror Rissy, Class Act, Tlingit Culture Accentuated, Uncategorized |
Just enough room to fit 7 students learning to create a buttonblanket robe sampler in the cozy Raven’s Nest Gallery owned and operated by Sue and Israel Shotridge on Vashon Island, Washington State
Almost 30 years I’ve been designing and creating button robes. It never occurred to me to teach a class until Sue Shotridge dropped the first hint a couple of months ago. She bugged me some more until she got a real commitment. Golly, I’m sure thankful she insisted. As usual, like anything a teacher teaches, we just get better at it. With the tricks-of-the-trade I learned from my students, I shoulda been teaching classes long time ago!
Tools of the trade: thin sock filled with baby powder, pounce wheel, rotary cutter, snip scissors, Elmer’s glue, paper pattern, straight edge, antique mother-of-pearl buttons and of course, your fabric…!
The pounce wheel creates tiny holes along the design lines which will allow the baby powder to filter through onto the wool
Cindy Leask using the rotary cutter to cut the pattern in her black wool
…cutting out the design. The entire class pretty much kept up with one another…impressive!
A few of the students worked late into the evening…
After sewing down the design with a blanket stitch, the buttons are carefully laid out
Each button is carefully glued in place. This trick I learned from the late Agnes Thlunaut Belllinger back in the late ’70s when I never even thought of making robes – one day during dance practice, out of the sky blue, Agnes said “…Clarissa, when you are making button robes, do the layout of all the buttons and then one-by-one glue each carefully with Elmer’s glue…” Little did she know I couldn’t stand sewing buttons onto even a shirt let alone a robe with hundreds of buttons, but somewhere along the line, she musta known what my spirit many years later would go into…
It was great to see enthusiastic students play with buttons…
Clarissa’s first button blanket-making class – L to R: Clarissa, Anne Kelly, Michelle Ruelas, Paul Barry, Marilynn Short, Cindy Leask, and Steven Seto
Nov 7, 2012 | Class Act, Latest Art Projects, Tlingit Culture Accentuated |
Back in 1983, I was commissioned by SEARHC (Southeast Alaska Regional Health Consortium in Juneau, Alaska) to create a poster design for their alcohol rehabilitation program – “Step Into the Light” – we hand-silkscreened an edition of 50 prints. – This image is a painting on a wooden box
I also did a version of this design into a full-size buttonrobe that SEARHC owns for their “Raven’s Way” program. Over the years, I have noticed other versions of this design that other artists have gladly used; I decided that I would do the same thing! I will be teaching my very first button robe class held on Vashon Island, Washington State and I am basing the class pattern on this original design. Like the designs of old, when they were good, there were versions of them done in a variety of mediums…by the original artist!
The design tells the story of the “Box of Daylight” where Raven “steals” each box from the chief of the Nass River (in B.C.) that holds the sun, moon and stars; Raven then opens each box and breaks light to the world.
This design shows Raven being the actual box; the lid of the box is open and it is simultaneously Raven’s head with the Sun coming out of the box. The chief is the profile face within the main body of Raven. Three potlatch rings are shown on his brow.
Drafting up the button robe pattern based on the original design – will be used as the pattern for a button robe sampler class I am teaching this coming weekend in Vashon, WA
