Aug 10, 2015 | Latest Art Projects, Tlingit Culture Accentuated, Tricks-of-the-Trade |
Beginning to weave one of the fingers on Clarissa’s latest Chilkat robe “Egyptian Thunderbird” – August 2015
I dye my own weft yarns in shades of golden yellow and a variety of blues. A couple of years ago I was trying to dye a beautiful turquoise, however, the yarns were unevenly dyed: I panicked! I couldn’t believe it; how come this was happening!? I did everything by the book: I mixed the colors evenly, I gave a gentle wash in gentle soapy lukewarm water after I had soaked the yarns for a few hours, I consistently stirred the pot!—And then to top it off, I was so enthralled by the beautiful deepening colors, I just kept stirring! HELLO!? Finally, I snapped out of my self-induced panic spell and snatched the yarns out of the dye pot!
And being the resourceful person that I can be, I wasn’t about to throw out dollars worth of yarns, so I saved it for a rainy day.
That rainy day came. I have used these unevenly dyed weft yarns for this present day robe I have been weaving this year. Using a Ravenstail technique within a Chilkat form, I am having a blast. Stay tuned for more close-ups of the robe as I move along with the weave in between all else that I am up to these days! I am carrying on as usual.
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!
Aug 1, 2015 | Latest Art Projects, Ravens & Eagles, Tlingit Culture Accentuated, Tools-of-the-Trade |
Collected from rifle ranges, these .22 bullet shells just got cleaned…!
Born to the Tlingit T’akDeinTaan Raven Clan from Glacier Bay, Alaska, I cannot help be the scavenger, a natural-born trait of ravens. Last year, Raven weavers Ricky Tagaban and my daughter Lily Hope collected .22 bullet shells from the Juneau rifle range as trim for the warp of their weavings; I had had the same idea when I saw bullet shells at a friend’s house. So what was the first thing I did when I returned to Juneau!?
Mariella models the 5-piece Chilkat woven ensemble “Chilkat Child” — the apron, headdress and leggings are all trimmed with .22 bullet shells (photo courtesy of Yukon News)
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
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 11, 2015 | To Market To Market |
The Northwest Coast Weavers Supply business card and sticker
The Northwest Coast Weavers Supply launched their website and business last Summer. Owner Lily Hope provides Ravenstail and Chilkat weavers a venue to purchase their basic weaving supplies such as the weft and warp at this easy outlet, on line. Occasionally, Lily will post a blog pertaining to weaving, running the business, the latest new shipment, etc. For supplies for your next weaving project, place your order with Northwest Coast Weaving Supply at: http://www.nwcoastweaverssupply.com or call Lily directly and place your order: 907-957-8378
This was a family-affair to get this baby off the ground: The easy-to-navigate website was created by Lily’s sister, Ursala Hudson at www.whiterabbitstudio.us and the logo of human hands (always depicted with 3 fingers and a thumb in Chilkat weaving) is also to hint at the viewer the fingers are like that of a spider (since spiders were the first weavers in the world), drawn by Lily’s mother, Clarissa Rizal.
Apr 25, 2015 | Class Act, Tlingit Culture Accentuated, Tools-of-the-Trade |
“Naaxein” is the Tlingit word for Chilkat weaving
During the Summer of 2013, a couple of my apprentices and I had volunteered to do Chilkat weaving demonstrations at the Sheldon Museum in Haines, Alaska. While we were there, of course, they had a nice collection of Chilkat weavings from the area, and to our surprise some weaving terms in the Tlingit language! So on behalf of the Sheldon Museum, I post some of the Chilkat weaving terms as well as the origin of Chilkat weaving according to an anthropologist from the turn of the century who wrote the book “The Chilkat Blanket, George Emmons.
In addition to the comment in the above photo made about Jennie Thlunaut’s signature, Jennie’s checkerboard “signature” was a pattern of yellow and blue.
Cost of a Chilkat robe back in the mid-1800’s was $30
Jennie had told me that she sold her first robe for $50. If my memory serves me, it was the robe started by her mother who passed away when she was a young teenager. She thought $50 was pretty good for a Chilkat robe; she had a confident smile on her face as she spoke.
“Kasek’xu” Tlingit word for dye
Jennie and Agnes Bellinger (Jennie’s daughter) told me the golden yellow was what weavers strived for and the best way to do this was all in the urine. The best urine to make the golden yellow was urine from a woman in her last month of pregnancy; second best urine was from a newborn infant. The way they collected the urine from a newborn was to place the “wolf moss” in the diaper and only collect #1 (as opposed to #2) and put the soaked wolf moss in the dye bath. The older the baby, or child’s urine, the more pale the golden yellow. Jennie and Agnes said there is no wolf moss in Southeast Alaska. The moss was a trade item with the tribes on the other side of the coastal mountains in British Columbia, Canada. The youth of the urine made the biggest difference in the color achieved and the set of the dye.
“Kakein” is Tlingit word for yarn
The mountain goat wool and cedar bark spin together as if they were mated for life; they are attracted to one another like bee to a flower! Mountain goat hides are hard to come by; and even if they were easy to acquire, there are so many Chilkat and Ravenstail weavers on board, we would make the herds run away further up into the high barren mountains! In the bio on Jennie Thlunaut here on my website under “Tributes,” there is a map showing the places where the men would hunt for mountain goat. Today there are a couple of guys who hunt mountain goat. We weavers need to do trades with these guys so we can let go of using the 2nd best wool that has replaced the mountain goat: merino wool from New Zealand. This wool is the closest fiber in the world next to the mountain goat. It spins up okay, but not as fine as the bee and flower of cedar bark and mountain goat wool…!
Teey Woodi Tlingit for Cedar Bark
The Western yellow cedar is best o split because the strands are silky smooth (when wet), they pull out into longer strands than the cedar (which is more brittle), and when you spin the bark and wool (done on the thigh), your hands are not prone to the first layer of skin rubbing off! Though if red cedar is all there is to collect, or someone gifted me some, then it is only sensible to not look the gift horse in the mouth. You acquire what you can! It is best to harvest the red cedar when the first sign of spring shows up with new green growth at the tips of the cedar tree boughs.
Chilkat weaving origins
There are several stories of the origin of where Chilkat weaving first began and how it came to and was retained in the Chilkat River Valley in Haines/Klukwan, Alaska. The Nishga’a in the Nass River area claim the weaving originated in the Nass River and only the Nishga’a inhabitated the area, not the Tsimpshian. The Tsimpshian from the Skeena River say Chilkat weaving originated there. The weaving had died out because of western contact in both areas, but fortunately, as one of the stories go, a Chilkat chief married a weaver from the Nass River (or Skeena River?), and then another story says it was the other way around. No matter what the story, all agree that there were specifically 4 sisters of a Raven Clan in Klukwan who unraveled the Chilkat apron to gain the knowledge of how the weaving was done.
Traditionally men designed the Chilkat robes because they were the artists of form line; women were the weavers…
Jennie said she finished a Chilkat robe in 6 months; she had pride on her face as she spoke. I didn’t believe her at first, but after I learned her fingering of speed, accuracy and tension, and I applied her knowledge to my weavings of today, well……?
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
