Mar 5, 2013 | Latest Art Projects, Ravens & Eagles, Tlingit Culture Accentuated |
Assistants to the curators at the Portland Art Museum in Portland, Oregon hang “Resilience” to be photographed for P.A.M.’s website. The painting on canvas is the “pattern board” for a Chilkat robe Clarissa is proposing to weave this year. There’s the possibility the Portland Art Museum may commission this robe. (Photo by Kate Damon, P.A.M.)
Design Narrative by Deana Dartt-Newton, PhD, curator at the Portland Art Museum:
“The Chilkat Robe, an enduring symbol of Northwest Coast Native cultures, has remained an icon of Native American art through time. Today, fine examples of Chilkat robes can be seen right here at the Portland Art Museum.
Chilkat robes, a complex form of tapestry twining, are the best-known textiles of the Northwest Coast. Emblems of nobility, they are prized for crest significance, fine workmanship and spirituality. The labor-intensive process to create a robe includes spinning wool and cedar bark warp, dyeing weft, then weaving the blanket. The abstract designs of crest animals on Chilkat blankets fill the entire design space.
In the Resilience design, Tlingit weaver Clarissa Rizal, student of Master Weaver Jennie Thlunaut of Klukwan, will illustrate in a commissioned traditional Chilkat, a narrative about colonial impacts on Northwest Coast Native cultures.
Within the central design field, Eagle and Raven symbols dominate, as they continue to form the foundation of culture – the clan system. Rizal expresses adaptations for cultural integration and survival by incorporating logos of the Native corporations and organizations “giving flight” to Native rights and sovereignty. The right and left panels contain symbols of Western influences integrated into lives of Native people including museums, institutions, and mining represented by the pair of hands holding the gold pan.
A powerful bridge between the traditional and the modern, the Resilience robe will set the stage for an exhibition in 2017 highlighting continuities and change among the art forms of the Northwest Coast. The picture of balance and symmetry, the Resilience Chilkat is modern expression woven in traditional form and represents the powerful bridge we need to bring our historic collection of Northwest Coast Art into the 21st century.”
Read about Clarissa’s design description of this robe is in a previous blog entry: http://www.clarissarizal.com/blogblog/?p=2914
Feb 11, 2013 | Latest Art Projects, Showing Off, Tlingit Culture Accentuated |
“Resilience” Chilkat robe “pattern board” draft – copyright Clarissa Rizal 2013
I think it’s either brave of me to reveal to the world a Chilkat pattern board I recently designed, or I am plain stupid. Is it taboo to show a pattern board of a Chilkat robe I am planning on weaving this Summer? Will someone steal this idea before I get around to weaving it, or do a rendition of it? Am I “jumping the gun” and sabotaging the energy of actually weaving this robe by sharing the pattern board? Anyone want to share your thoughts on this?
I have wanted to weave the idea of this robe since 1985; I finally got around to drafting up the design – I actually have the full-size “pattern board” – just the design field (without the borders) measures 48″ w x 28″h. The following is the design meaning:
“Resilience” is a “document” depicting icons of Western influences that changed our Northwest Coast indigenous peoples during the past 300+ years, and Native logos reflecting cultural integration and strength.
The Icons and their meanings:
• ships – Russians, Spanish and English explorers/traders
• double doors flanked by columns – museums, collectors, anthropologists
• pair of hands holding the gold pan – mining, western monetary system
• cross – Christianity, missionaries, organized religions, boarding schools
The Logos and meanings:
• Eagle and Raven represents the clan system-the fundamental foundation of the culture; also represents the Tlingit and Haida Central Council (logo) established in 1935
• Within each wing, logos of the ANB (Alaska Native Brotherhood) established 101 years ago in 1912 and the ANS (Alaska Native Sisterhood) were first indigenous civil rights groups in the U.S. – these two organizations gave “flight” for indigenous rights
• Within the chest of the Eagle and Raven, the Sealaska Corporation logo, 1 of 13 Regional Native Corporations of Alaska spawned from the passing of the Alaska Native Land Claims Settlement Act (ANCSA) in 1971 – these organizations reflect the “heart” of the present-day cultures’ integrating western ways of living and conducting western business while maintaining cultural values and ethics
• Tail – the new “rudders”; the new institutions created to assist in archiving, preserving and perpetuating the Native cultures of today; depicted is the Sealaska Heritage Institute (logo) established in 1980.
I plan on including Ravenstail weaving patterns in the “water” behind the ships and in the white “pillars.” I’ll also weave Ravenstail here and there in the robe. It’s fun to incorporate the Ravenstail weaving patterns into the Chilkat robes.
Feb 3, 2013 | Latest Art Projects, Tlingit Culture Accentuated, To Market To Market |
A ball of Chilkat warp (still in the process of being spun) and in the background prepared strands of wool
A couple of friends of mine are providing the service of spinning warp for all you Chilkat and Ravenstail weavers who don’t have the time (nor the inclination?) to spin warp for yourselves. Place your orders now to be placed on our schedule.
The definition of e.p.i. – “ends per inch”
PRICES: Chilkat warp – $2.65/yard Ravenstail warp – $2.25/yard (Prices do not include shipping, handling and insurance)
ESTIMATED AMOUNTS FOR PROJECTS (varies according to size of project and size of warp) – below are estimates of yards using the standard size of 10epi:
* Chilkat or Ravenstail robe – 1000 yards
* Chilkat or Ravenstail apron – 250 to 300 yards
* Chilkat or Ravenstail leggings – 200 – 250 yards
* Chilkat or Ravenstail bag – 60 to 100 yards
* Chilkat or Ravenstail headband – 80- 100 yards
* Chilkat or Ravenstail pouch – 30 – 50 yards
Standard sizes of Chilkat warp – Ravenstail warp is spun the same but without the cedar bark
You may place your orders for Chilkat and Ravenstail warp by either emailing me (clarissa@www.clarissarizal.com) or giving me a call (970-903-8386 – and yes indeed the area code is 970).
We will also be creating a “warp bank” – we are optimistic that we can keep it continually stocked for sudden immediate requests!
In the near future, we will open a “Chilkat Store” on my website to provide Chilkat and Ravenstail products including Chilkat and Ravenstail warp, weft yarns, various size weaving looms and bags, simple weaving kits, spinning supplies, etc. Currently, I am in the process of recruiting the spinners, dye-ers, woodworkers, etc.
We will keep you posted to our progress! In the meantime, Happy Weaving!
Jan 7, 2013 | Honoring Others, Latest Art Projects, Ravens & Eagles, Showing Off, Tlingit Culture Accentuated, Tools-of-the-Trade |
After drafting the pattern in pencil, then I outline with a black Sharpie marker
Have you noticed that even though I may be weaving on a Chilkat robe for a year or two, I do not ever show the process of me weaving on this blog until AFTER the robe is completed? The reason is because I was taught by my teacher Jennie Thlunaut that whenever Chilkat weavers are weaving a robe (as opposed to an apron, headdress, leggings, etc.), that we are not to publicly show the robe to the person(s) who has commissioned the robe. Another Tlingit taboo? I don’t know. While I was weaving with Jennie, I gave up asking her the question “Why” every time she told me certain Chilkat “guidelines.” I remembered that the elderly folk of that time period and before did not explain the “why” of things – you just did what you were told, and that was that.
Using the Sharpie marker, I fill in the form line. I used elements from a couple of robes. This is a Diving Whale with an Eagle in the right side of the body and a Raven in the left side. – The far right design elements are called the “filler.”
I apologize that I cannot show you the process of weaving this robe. My goal is to finish by May 1st this year; then I will post a sequence of photographs.
Dec 2, 2012 | Adventures of Rear-Mirror Rissy, Health and Wellness, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Hand-caste paper feathers by Clarissa Rizal will be available for sale during Juneau’s First Friday Gallery Walk, December 7th, 2012
During the First Friday Gallery Walk, December 7th (4:30-7:30pm), Clarissa will be the guest artist at the “Aurora Healing Arts” on North Franklin Street just a half-block up from the Hearthside Books in downtown Juneau.
The hand-caste paper feathers above are made with recycled papers, with a vein of cedar bark trailing down through the middle of the feather to a mother-of-pearl button tipped with a strand of beads and with a crystal teardrop dangling at the end.
You may purchase the feathers with Native American quotes hand-written on them or there are blank ones to add your own inscription or keep it plain and simple!
Aurora Healing Arts is located on North Franklin Street a 1/2 block up from Hearthside Books in the Triangle Building in downtown Juneau
Aurora Healing Arts is owned and operated by Jan Parrish and Greg Garrison, featuring Infrared saunas, Devil’s Club salves and teas, healthy lifestyle products and herbal remedies. Also, Jan has been a licensed acupuncturist/herbalist with nearly 30 years experience with a treatment room off the retail store outlet. They recently opened a month ago.
Window into the world of “Aurora Healing Arts” – check out the paper feathers and all other good things for you in the window the next time you walk past…!
Aurora Healing Art’s uniquely exclusive Devil’s Club Chai tea in both decaff and caffeinated – and in my opinion, “Miracle Mend” is the best all-around healing salve
Auromatherapy spray mists “Raven Woman”, “Eagle’s Feather” and “Glacier Mist”…wonderfully fragrant for swinging into good moods!
Clarissa will have a variety of things available for your Christmas shopping options; they include: beaded wool felt Russian-style 1800-s Navy hats, shrink-wrapped Giclee prints, hand-caste paper feathers, gumboot earrings, greeting cards, original charcoals, cell phone covers and Chilkat robe pattern board paintings on canvas. (Note: The limited edition of hand-printed, hand-sewn Tlingit dolls have all been sold.)
Below are photos of some of the items for sale at this December Gallery Walk in Juneau…
9 greeting card images of button blankets based on robes designed by Clarissa – buy them individually or in a pack of 9 – use them as greeting cards or mat and frame them!
Beaded Russian-style wool felt hats by Clarissa – long-time friend, Kamala with Clarissa stand in front of a Chilkat pattern board on canvas
Spraying clear laquer to set the charcoal (to prevent charcoal from smearing!) – “Totemic Theories” is a charcoal on canvas available for sale in two separate formats: a wall panel measuring 28″w x 72″h and a free-standing column measuring 28″ x 76″
Dress up in your favorite, festive winter garb and join the Gallery Walk this coming Friday, December 7th; come visit Auorora Healing Arts and have a swig of Devil’s Club Chai and a bite to eat while checking out Clarissa’s work – we look forward to seeing you!
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 9, 2012 | Honoring Others, Showing Off, Tlingit Culture Accentuated |
Sue and Israel Shotridge at work in the studio…
I am inserting this image in my blog of these two artists because I really like these people and I want to introduce you to them: Israel is working on a pendant design and Sue is pouncing a pattern. They are multi-talented, multi-faceted folks who I’d applause 8 days a week! They are the owners of Raven’s Nest Gallery in Vashon, Washington State. You may visit their website at www.shotridgestudios.com — Thank you to Sue who produced, coordinated and hosted my very first button blanket-making class!
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
Nov 6, 2012 | Honoring Others, Latest Art Projects, Tlingit Culture Accentuated |
In honor of my cousin, the late Pat Mills from Hoonah, Alaska, for the upcoming koo.eex (pay-off party), I drew an ink & acrylic sketch of Pat, as if dancing in a Chilkat robe that could have been his – the robe includes his infamous “FV Mary JoAnne” sailing along with salmon and halibut
With my friend Cecil’s assistance, we printed 88 copies of the “Mary Joanne Chilkat Robe” as gifts for Pat’s koo.eex coming up on November 17 in Hoonah, Alaska. Why print an edition of 88? Simply because that’s all the paper I had. This printer is the Epson 7880 24″ model. I’ve had it for about 4 years, however, I find it difficult to make time to print all that I want to print. There is only so much time in 8 days a week!
Nov 2, 2012 | Latest Art Projects, Showing Off, Tlingit Culture Accentuated, To Market To Market |
“Totemic Mosaic #001” is part of the group exhibit opening November 1st at the Quintana Gallery in Portland, Oregon. Other artists include Alano Edzerza, Shaun Peterson, Paul Rowley and LessLIE Sam.
“Quintana Gallery celebrates its 40th anniversary with a year-long series of exhibitions that honor its past, present and future. The last in this series is a group show of the next generation of artists who are carrying native art forward with contemporary eyes and firm roots in tradition.” These images in this blog entry are a few pieces created for this show.
“Totemic Mosaic #004” — I have made about 5 (maybe 6? – hard to recall) of these “mosaics” since this Summer. They are on hand-built curved canvasses. They are fun to create.
“Totemic Mosaic #005” – this photo gives a little bit of perspective on the curved canvas theme.
