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 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?
Feb 3, 2015 | Honoring Others, Poetry Alaskan, Relationship Overdrive |
Clarissa and her children, Ursala, Lily and Kahlil – July 2011
A couple of weeks ago, one of my apprentices asked me if I would write a bio of myself that explained when I began to do my art and why. She said she had to choose someone who had influenced her life to become an artist; she choose me. This was an assignment she needed to present at her art class. My initial response was “Gee, I inspired her to become an artist? But I don’t want to write about me, it is so boring to go back that far and talk about who, what where when and why…” However, I gave her my word that I would do this for her that night. So, I “set the stage” with low lighting and a cup of tea; I do this whenever I have to write about my personal life to help me focus with very little struggle – then with very little editing, the words just flowed from my head down through to the keyboard onto the computer screen. Here’s what came…
19 January 2015
Sitting in the direct heat of the fake firelight of the electric Amish heater in my studio, always bundled in my sheepskin coat, sheepskin boots and hat because the heating device is not large enough to heat this one room where I work and sleep, I am never quite warm in Winter, though it’s better than being outside right now with 0 degree starlit snow. I reflect upon my life as an artist and wonder where it all started and if living the life of a full-time artist, especially now in a place without running water, without sewer, and without sufficient heat, was and continues to be, worth it.
No matter what age, for the past 59 years, I’ve always been a child of creativity, with a drive that is endless. I exist on 6 hours sleep a night; from the time my eyes are awakened by the early dawn until I suddenly stagger to my bed 18 hours later; like I am going-going-going, then gone! It’s only in the past couple of years that I realized that not everyone is like this; where have I been?
38 years ago today, my first child Kahlil was born, named after Kahlil Gibran who wrote many inspiring books including The Prophet, Spirits Rebellious, and my favorite The Broken Wings. Spiritually-inclined at a very young age, anything written about Christ had to be read; any paintings, prints and photos of Jesus had to be studied, so natural it was to read all of Gibran’s works when I was a young adult. And even though in the western way of living having a child at 20 was considered young, it was natural for me to think it normal because our Tlingit culture had the wisdom to know children are a gift of God.
My parents guided me into the way they were conditioned to get a “real job” to secure a pension plan to retire in 40 years. This worked for a little while. From the age of 14 to 20 I had real jobs working as a librarian assistant, a home-health aid for the elderly, a clerk typist for the Governor and for the Bureau of Indian Affairs Division of Contracting, until of course Kahlil was born. Being a new mother was challenging; I was not a natural-born mother because I was such a tom-boy and it was next to impossible to stay indoors day in and day out while the baby napped, I had to keep up with the diaper changes and laundry, and he had to be nursed every 2 hours 24-7! Holy cow!
To keep my sanity I turned to gardening; it got me outdoors yet close to home! I turned to drawing, crocheting and sewing. While he took his naps, and directly after putting the entire household to bed each night, I’d stay awake ‘till at least midnight, creating; it was my therapy! During the raising of my three children, I made a living over the next decades in a variety of ways: besides designing and making Tlingit ceremonial regalia in button blanket, Chilkat and Ravenstail weavings, I was an entrepreneur before I knew what that meant. I made hats, I sewed custom-made clothing, created costumes for local theatre companies, owned a landscape gardening company, and was co-owner of an online newspaper. In the 70s and early 80s, I took up learning our traditional arts from some of the best artists of their time: carving, regalia-making, traditional song and dance, metal-smithing, basketry, Chilkat and Ravenstail weaving. Just before my children were grown up and gone I had created a name for myself as one of the few, if not the only, Tlingit women who has been a full-time artist working in all of the above mediums for nearly 40 years, all in the name of keeping my sanity and being a stay-at-home-self-employed-mother because I did what my mother recommended I do: stay home with my children.
In a few years I will be 65; do I see myself retiring soon? No way. I have no pension plan; I have no savings; and I surely do not have an inheritance. I cannot afford to retire. And what would I retire to!? Would I retire to taking vacations? What for?…vacations are boring; I don’t want to relax – relaxing is a lot of work! Would I retire to volunteering at something? I been there done that volunteering all my life with the house concerts I used to produce in my own home; with the children’s theatre I used to co-produce; with the art shows and classes I used to teach, just to name a few. Would I retire to what most people retire to? Watching TV from the couch. What for? Is that really fun, is it productive, is it creative, does it do anyone any good? The only results I see from watching TV is weight gain—too much potato chips!
Would I retire to what some of us retire to? Art and music.
Hello? I am already there; I have been creating art and playing music all my adult life. Does this mean I’ve been retired all my life? Hmmm…an interesting perspective.
It looks like I will continue doing what I have been doing for almost 40 years. Why change now? I’m in the groove.
My children now have families of their own. Each of my children and their spouses are self-employed artists. I have watched them struggle with making ends meet like the way their father and I made ends meet never knowing where our next paycheck would come from and if next month’s bills would get paid. I watch them live like I have, not afford brand new cars, not take any vacations, not have the latest styles of clothing, all the while living with tension about the ability to keep a roof over their heads, mouths fed, and clothing clean. However, there’s a sense of pride and awe that I feel when I see the fact that they stay at home with their children, making wholesome meals from scratch, tending to a flourishing garden, doing their “art” and their little kids “working” right alongside them: happy. These are values I did not realize were taught to them by my own example, someone who has passionate creativity, a drive that has always been driven, at the edge.
Kahlil is a professional film-maker/director who also teaches film a couple of days a week at the Institute of American Indian Arts; his wife Miki is a counselor at the Santa Fe Arts Academy; their 7-year-old Violet enjoys chess tournaments, sewing, ice-skating, gymnastics and basketball. Lily is an award-winning, professional storyteller/actress and also a Ravenstail/Chilkat weaver and teacher; her husband Ishmael is also a professional storyteller/actor, excellent writer who recently published his first book of poetry. They have four children who are being home-schooled. Ursala is an oil painter, block-print maker, graphic artist/web designer, and is president of a local Charter school she is starting; her husband Chris is a lead singer/songwriter in his band, a sculptor and a house painter. Their two daughters are obviously following their footsteps! My children and grandchildren live fully.
To my best of my ability, I live a life of integrity. I keep watch of what I do to see what I believe. My offspring and my work is love made visible. I follow my heart because my heart follows the source of creativity that inspires me and continues to drive me. I am old enough to look back upon my life and enjoy it a second time around. All my relations, my parents, my children and their children are proof of the legacy that I co-created and will leave. And when I leave, my conscious will be clear and free, knowing all that I loved and lived, was worth it.
Dec 20, 2014 | Class Act, Tlingit Culture Accentuated |
A Chilkat apron started by Dodie Gannett in the 1980s
Two months ago, I received an email from a weaver who wanted my mailing address so she could pay me for copying my “Jennie Weaves An Apprentice — Chilkat Weavers’ Handbook.” Then she emailed me a couple of photographs of the above apron that was gifted to her and her 4 weaving buddies by John Beard. Of course, in the weaving world, everyone knows the infamous Ravenstail weaver John Beard, so I was intrigued by the story of this apron and John’s connection! Even though I do not normally teach non-Native women Chilkat weaving unless they are part of the Native community (i.e. married to a Native man OR adopted into a Clan), because they had already started to learn how to Chilkat weave, I felt right telling them that if they wanted my help, I would be willing to assist in teaching them things they would not learn from any other teacher nor any other book on the subject, and also since I would be up in their neck of the woods in December when I do my public presentation on Chilkat weaving at the Portland Art Museum. I put my line out there and they bit!
The following is a follow-up report from the five “Apron Apprentices” to their sponsor, the Portland Art Museum, Portland, Oregon:
“December 15-19, 2014, the Apron Apprentices spent five fun and informative days with Clarissa Rizal, a powerful Tlingit woman. These days were made possible in part due to the generous grant from the Native American Art Council to pay for Clarissa’s teaching fees and Sally Ishikawa’s kindness in providing space in her home for us to meet. Words alone cannot express our gratitude for these generous gifts.
The Apron Apprentices: Stephany Anderson, Sally Ishikawa, Margaret Woods, Joni Zimmerman, and Margaret Emborg Jeppesen Each with their “Apron Apprentices” bags gifted to each of us by Joni
The Apron Apprentices were first given the opportunity by John Beard to finish a Chilkat Apron started by Dodie Gannett in the 1980s. After two or three sessions of reading the weaving and slowly beginning to put in the first few twining stitches of our own, we began wishing for a teacher. Each of us in our own way began talking to our “left hand corner” looking for guidance in our journey with the apron. Our requests were answered when Clarissa offered to teach us the finger that Jennie Thlunaut taught her and share her weaving journey. She encouraged us to study and understand the spiritual journey of Chilkat weaving. With this special Apron, we have the opportunity to bring an important ceremonial object full circle back to life.
The weavers at their looms
One mystery associated with our Apron is that when it was brought to John Beard, it was accompanied by an older, also unfinished apron, of the same pattern. Some of the weavers at Damascus Fiber Arts School had vague memories of this apron, but no one could remember where it came from. We showed it to Clarissa, and as she held it in her hands she said, “Doris Kyber-Gruber.” Doris was a weaver who learned Chilkat weaving before she even went to Alaska, and was associated with Chief Lelooska in the 1950’s. In the 1960’s she went to the Haines area in Alaska, and she knew Jennie Thlunaut. (Clarissa notes: “I remember Agnes Bellinger telling me about Doris who learned Chilkat weaving from her mother Jennie. She said that Doris had written a manuscript on Chilkat weaving, but she decided to never publish it because she realized the sacredness the Tlingit held of this style of weaving. About 15 years ago, a friend gave me color slides of Doris sitting next to Jennie learning how to weave with a couple of Native women in the late 1960’s I have to find these slides!)
Stephany shoots a selfie of the 6 of us!
Doris later moved to Portland, and John Beard has been able to confirm with Dodie Gannett’s family that Dodie and Doris knew each other and that they actually went to Kasaan Village in SE Alaska together in 1971 to teach a Chilkat Weaving Class. l We did a little bit of research on Doris, and learned that she passed away just last summer. This is a link to her obituary: http://obits.oregonlive.com/obituaries/oregon/obituary.aspx?pid+171863740
Margaret Woods models John Beard’s latest Ravenstail robe: equisite!
Our group is in awe over these amazing connections through these aprons. During our week with Clarissa, besides the cultural and spiritual aspects of the weaving, we learned a lot of technical information. Clarissa understood and explained notations Dodie had made on her “pattern board” that will enable us to move accurately finish the Apron as Dodie intended. Also of interest is information on the pattern we are weaving.
Joni Zimmerman
The Field Museum in Chicago, in possession of a very old apron after which our Apron is patterned, has notes that the pattern is “Hoorts, the Bear.” Internet research of old legends says Hoorts is the grizzly bear. Clarissa noted, however, that there are flukes on our patter, which would make it the “sea grizzly,” associated with a clan on North Vancouver Island (area). As part of our weaving journey with this Apron, we will continue to research information on the history and legends associated with the pattern. Our week with Clarissa brought us closer together as a group and has given us knowledge needed to move forward with this project. We will not take this privilege lightly.” — The Apron Apprentices (Sally Ishikawa, Joni Zimmerman, Stephany Anderson, Margaret Woods and Margaret Emborg Jeppessen)
In the weaving room, the two aprons “meet” – In the foreground, we see the back side of the apron started by Dodie Gannett in 1980’s and facing us, we see the child-size Chilkat robe (also be worn as apron) started by Clarissa Rizal
Margaret Jeppesen
Margaret Woods
Sally Ishikawa
Stephany Anderson
I feel the “Apron Apprentices” need to partake in a ceremony where they experience the apron(s) being danced amongst our people. I would like them to experience Haines, the culture and it’s people in full context to Chilkat weaving. I encourage the Portland Art Museum that they assist all five of these women (and maybe John Beard too!) to attend a two-week weaving class in Haines and then attend Celebration 2016 in Juneau, Alaska.— The story of these aprons is not yet complete; they may be an on-going tale like any human life…!
The older Chilkat apron possibly started by Doris Kyber-Gruber in the early 70s is held before the new Chilkat apron started by Dodie Gannett – Left to Right: Sally Ishikawa, Jodi Zimmerman, Margaret Jeppesen, Margaret Woods, Stephany Anderson and John Beard
Dec 9, 2014 | Adventures of Rear-Mirror Rissy, Showing Off |
Clarissa begins her presentation on the design and weaving of her latest Chilkat robe “Resilience” to the members of the Native American Arts Council at the Portland Art Museum
Many, many years ago, if you asked me to get in front of other people and talk about whatever, no matter what size the audience, and no matter if the speech would be in front of my family and relatives, I would freak out. No one nowadays, believes me when I tell them of my once-upon-a-time fear and shyness; — especially not those who were at any of my four presentations at the Portland Art Museum this past weekend of December 5th through the 8th, in Portland, Oregon.
Clarissa explains the meaning of every design element in the robe
Audience feedback tells me that I am a fantastic storyteller at heart, a natural-born comedian, an up-and-coming philanthropist, a content and yet passionate, visual artist. Interesting feedback…things I don’t really define as me though obviously those outside of me experience me on the contrary of what me believes about me. I guess I APPEAR to others to be those things I have yet to add to my list of how I define myself. My personal experience of myself is passion and inspiration. I feel passionate about my work; in fact I am inspired by my own work. My latest Chilkat robe which is now in the permanent collection of the Portland Art Museum was, and continues to be, an inspiration.
Clarissa tells another tale about the making of “Resilience”
With every art piece I design and create, no matter what medium, I strive to “out-do” the last piece of that particular medium. I compete with myself; I have experienced this is where true, fulfilling competition lay.
Thank you to all of you I met during my 4-day stay in Portland, especially the members of the Native American Arts Council at P.A.M. Thank you to Deana Dartt who worked hard on acquiring this robe for PAM’s permanent collection. And thank you to Beverly Terry who sponsored the making of the “Resilience” Chilkat robe!
You may see photos and read about the design description of my latest Chilkat robe “Resilience” at these blog entries:
http://www.clarissarizal.com/blogblog/resilience-has-new-home/
Dec 9, 2014 | Ravens & Eagles, Tlingit Culture Accentuated |
The Curator of Native American Art at the Portland Art Museum, Deana Dartt with her unique staff Mike Murawski, Alex Mar, Todd Clark – They stand next to Clarissa’s recently completed Chilkat robe “Resilience” now part of the permanent collection of Portland Art Museum – December 2014
Surprises come in all sizes and shapes, some pleasant and unpleasant. Learning how to keep the emotions in check is, I have discovered during my mid-life “learning curve”, the best way to stay off the emotional roller coaster. I used to respond fully at everything, whether positive or negative; I have come to realize that was a lot of energy to expend especially now as I am getting older, it is best for me to conserve that energy for myself, to myself, as I am needing to keep any energy I have if I want to continue doing what I do and all the things yet that I intend to do before I go. So,…the surprise of seeing the Chilkat weavings collection at the Portland Art Museum was indeed pleasant that will last the rest of my lifetime. Why?
The double-headed Raven “Two Door” Chilkat dance tunic and its wooden pattern board – the tunic was woven by my weaver teacher/mentor Jennie Thlunaut
Though there were a couple of other weavings and button blankets etc., I focused on these two tunics I show herein: one is a “Grizzly Bear” tunic woven by Mrs. Benson, the paternal aunt and weaving teacher to my teacher/mentor Jennie Thlunaut, and the other tunic, the double-headed Raven “Two Door” tunic was woven by Jennie Thlunaut. Mrs. Benson was born in the mid-1800s and died in the early 1900’s; Jennie was born in 1895 and died in 1986. Jennie’s mother died when Jennie was 12; her mother had just started weaving another robe. With the help of Jennie’s 4 paternal aunts, Jennie completed the Chilkat robe her mother started. Mrs. Benson was one of those aunties.
Full view of the double-headed Raven “Two Door” Chilkat dance tunic by Jennie Thlunaut
The Portland Art Museum has in its collection a “weavers lineage” most likely, unlike any other museum anywhere else in the world. How is that possible? The “Grizzly Bear” tunic was woven my Mrs. Benson, the “Two Door” tunic woven by Jennie Thlunaut, and now the “Resilience” Chilkat robe woven by me! There is no other museum or cultural institution that owns a Chilkat weaving by me, so in this case, P.A.M. owns a weaving lineage of three generations! — Now how cool is THAT!?
Jennie wove two of the double raven “Two Door” tunics. Long time ago, I was told the story of why she ended up weaving two identical tunics, but now I don’t remember. And like anything, if I don’t TELL the story enough times, either verbally or at least written down, the story gets lost, so let this be a lesson to us! However, the Pennsylvania Museum in Philadelphia owns the other identical tunic and I KNOW they have the story!
Full view of the double headed Raven “Two Door” tunic pattern board
This hand-painted pattern board hosts two designs; on one side is the “Two Door” double raven, on the other side is the “Grizzly Bear”. Of course, It be sensible that this large piece of wood, which is cut the width of the tree, be used efficiently!
Close up of a Chilkat tunic neckline and sleeve woven by Jennie Thlunaut’s auntie “Mrs. Benson”
This particular Chilkat weaving tunic woven by Mrs. Benson is my ALL TIME FAVORITE woven piece since I first laid eyes on Chilkat weavings nearly 40 years ago! The design, the workmanship, and the colors which have yet to fade terribly are all fabulous – such an inspiration. In fact, back in 2000 I did a limited edition of only 40 silkscreened prints using a photograph of this tunic as my inspiration to portray Jennie Thlunaut’s lineage of weavers titled “ShaaxSaaniKeek Weavers Circle.”
“Bear” wooden pattern board for the Chilkat tunic woven by “Mrs. Benson”
Traditionally, because men were the artists who carved and painted the form line art of the Northwest Coast, they were the ones who designed the Chilkat. The form line of Chilkat is “translated” from the traditional form line so that the weaver can more easily weave the shapes. So in order to create a successful Chilkat pattern, the designer must understand how the weaving process is done. Very few artists know how the weaving process is done; in fact, there are many of our people who have never seen the weaving process, and when they do, they are shocked at the intricate amount of work and the numerous hours to create even a small weaving. They then understand why the Chilkat weavings are “expensive.”
The “Bear” Chilkat tunic woven by Jennie Thlunaut’s auntie, Mrs. Benson – trimmed with sea otter fur on neckline, cuffs and the sides
Nov 14, 2014 | Adventures of Rear-Mirror Rissy, Latest Art Projects, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Charcoal by Clarissa Rizal
Here’s my Winter Schedule for upcoming Art Markets, presentations, classes and demonstrations. If you are in any of these locations, come by and visit; I’d love to see you!
1) One-day Chilkat/Ravenstail Weaving Class, Juneau, Alaska, Sunday November 23rd, 10am-4pm with potluck lunch — this class is for experienced weavers who have a project on their loom and need assistance, comraderie, support and a feast! Class is limited to just 10. The Northwest Coast Weavers’ Supply will have weaving/spinning items available for sale BEFORE the Public Market sales; so you will have the privilege to be the first to purchase your supplies for your next weaving project — Interested? Give me a call at 970-903-8386 or email me at: clarissa@www.clarissarizal.com
2) Alaska-Juneau Public Market, Thanksgiving weekend Friday, Saturday, & Sunday, November 28-30th, Booth #P-15 in the main room of Centennial Hall on Willoughby Avenue in Juneau, Alaska – Click here to see the list of some of the items I will have available for sale
3) Portland Art Museum, Portland, Oregon Presentation of “The Making of Resilience Chilkat Robe”, Friday, December 5th; I will also have Chilkat-related items available for sale AND I will have two woven ensembles on display only during this presentation
4) Evergreen Longhouse, Olympia, WA, — The Holiday Market is open Friday and Saturday, December 12 & 13; I will only be selling on Saturday! — Click here to see a list of some of the items I will have for sale.
5) “Raven’s Nest” Gallery (owned by Sue and Israel Shotridge), Vashon Island, WA — I will be demonstrating Chilkat weaving on a child-size robe; I will also have on display two child-size woven ensembles, “Little Watchman” a 4-piece Ravenstail outfit woven by my daughter Lily Hope, and my 6-pience ensemble “Chilkat Child.” I will also have items for sale as well; click list here to see list of some items.
6) Chilkat Weaving Class, Corvallis, OR – December 15-19th; for experienced weavers with a project on their loom. — This class is currently full.
7) Heard Museum Juried Indian Art Market & Fair, Phoenix, AZ – March 7-9, 2015
Nov 4, 2014 | Class Act, Tlingit Culture Accentuated, Tools-of-the-Trade |
Washed Chilkat warp is pulled tight and set out to dry
Here’s a trick-of-the-trade to create smoother, more even Chilkat or Ravenstail warp with no give: after you wash your warp, pull tight as you wrap the warp around the back of a chair — let dry thoroughly, then groom.
Why do you want a smother, move even warp with no give? When you are weaving your weft yarns over this warp, you will notice a less bumpy, more evenly-laid fabric.
Periodically I post various tricks-of-the-trade in regards to spinning, weaving, designing or anything else I may think of to post here on my blog for all you wonderful artists/craftspeople out there in the world!–for more tricks, check out “Tools-of-the-Trade in the column to the right…
Nov 2, 2014 | Adventures of Rear-Mirror Rissy, Showing Off, Tlingit Culture Accentuated, To Market To Market |
A few prints by Clarissa available for sale at the Juneau Public Market Thanksgiving weekend in Juneau, Alaska – Back to Front: “Red Salmon” (2005), “Shaax’saaniKeek’ Weavers’ Circle” (2001), and “Old Timers’ Basketball Tournament” (1981)
I invite you to visit my Booth #P-15 at Alaska-Juneau Public Market booth during Thanksgiving weekend at Centennial Hall in Juneau, Alaska! The booth is right across the isle from Tony Tengs “Chilkat Cones” in the main hall of Centennial Hall. And please note: I will be sharing the booth with Tlingit carving artist & silversmith, Israel and Sue Shotridge (www.shotridgestudios.com).
The following is an inventory of items for sale; they include (but are not limited to):
A limited supply of Chilkat weaving and spinning supplies: Cedar bark without the sap (both whole and split), Chilkat warp, Chilkat weft yarns in golden yellow, turquoise, black and cream, spinning pads, etc.
Books for sale that I wrote, made or co-illustrated include: “Chilkat Pattern Templates”, the “Chilkat Weavers’ Handbook”; Juneauite author Hannah Lindoff children’s book “Mary’s Wild Winter Feast” — and books that I highly recommend: “The Intenders” by Tony Burroughs and “Go Pro – Becoming A Network Marketing Professional” by Eric Worre.
Miscellaneous items include: my button blanket greeting cards, hand-caste paper feathers, limited edition Giclee prints, hand-sewn, beaded, felt Russian Sailor hats, and gumboot shell earrings made by daughter Lily and sister Dee Lampe.
Come check out my latest 5-piece Chilkat woven ensemble called “Chilkat Child” which will be on display next to my daughter Lily’s 4-piece Ravenstail woven ensemble “Little Watchman.”
We’ll see you in a few weeks during the weekend of Thanksgiving at the Public Market in Juneau (Friday, Saturday and Sunday)!
Aug 2, 2014 | Honoring Others, Tlingit Culture Accentuated |
Flanked by two Ravenstail robes woven by Shgen, Clarissa poses with Shgen George (center) and her daughter Gabby Kay at her first show opening during 1st Friday Gallery Walk, August 1st, 2014 at the Juneau Arts & Culture Center (JACC), Juneau, Alaska
Shgen George has been an elementary school teacher for at least 10 years; she carves out time from her other roles as mother, wife, mentor, teacher, and daughter to do her art – it isn’t easy! Like where do you find the time to do your art when there’s always student’s class assignments to check during the weekend!? She had an impressive showing of buttonrobes, Ravenstail robes, beaded, appliqued and woven Chilkat and Ravenstail octopus bags! Wow. Even I have never had a one-man show and I’ve been at this for nearly 40 years! — Click here for more information on Shgen and her show at the JACC during the month of August.
Shgen says that I am her mentor. (Really? Me?) I am not only her teacher of Chilkat, I am her mentor. I have never really considered myself a “mentor” – like what does that mean? Someone who knows a little more about life’s certain topics that shares it on a consistent basis with specific person(s). She says that I have inspired her tremendously and wants to do what I have done in my life. I have never had anyone else tell me this; I wonder if there are others who feel the same way? I had not ever considered myself as someone “to follow in their footsteps…” so to speak. I am 58 years old this year; I better get on the ball and take my position seriously. So I have given her some pointers on how to go about doing this: what to watch out for, the dedication, determination and drive of doing art to keep yourself sane while growing up and old all the while becoming more of a human being, and all the while balancing your life with your husband, your kids, your community, your health,…and of course, your other job!
A few years ago, when I saw Shgen’s astounding beadworked octopus bags, I told her that I had woven a couple of octopus bags, one Ravenstail, the other Chilkat. I encouraged her to weave octopus bags of all kinds, and why not!? Nobody’s doing it and it’s gotta be done and I’m too busy doing other weavings and works so it might as well be her! By golly, she’s done it!
Shgen too is part of Jennie Thlunaut’s legacy of a Chilkat weaver. I know Jennie would be proud of Shgen, her character, her talent and her works.
Congratulations Shgen!!! And Gunulcheesh to her husband, daughter, mother, father and other community members who have supported Shgen in her achievements!!!
Can we have an Amen!? Can we have a HOO-HAA!?
