Chilkat Jacket
painted Chilkat jacket made with acrylic paints on woven upholstery fabric, black wool accents in cuffs and collar, closure with abalone buttons
Okay all you weavers out there; I challenge you to weave a jacket like this! Chook!
Tlingit Painted Pony
On her front porch, Clarissa sands a smooth finish to prepare for first coats of acrylic paint
I came across these old photos of a fiberglass horse that was a part of the “Trail of Painted Ponies” exhibit back in the Summer of 2003 (or was it 2004?) held in Santa Fe, New Mexico. There was a coffee table publication of all 50 horses supposedly representing the 50 states. I had the honor of representing Alaska.
After several coats of solid golden paint, Clarissa paints the Tlingit formline of a dragon on the chest of the horse
Face of the Tlingit Robed Horse
Portrait at night out back before thunder showers
Clarissa with Robed Horse
Along with all the other 49 horses, this one was auctioned off; the owners live in Texas. I do not know how much it sold for; all the proceeds went towards the Horse Project.
Northwest Coast Artists’ Gathering 2012 Sponsored by SHI
2008 Northwest Coast Artist Gathering - Juneau, Alaska ----- Insert L to R: Aldona Jonaitis, Nicholas Galanin, Nathan Jackson, Marianne Nicholson -- sponsored by Artstream Alaska with support from Sealaska Corporation
In 2010 and again this year in 2012, Sealaska Heritage Institute has assumed the role of sponsoring an artists’ gathering held the day before the biennial “Celebration” gathering of the Tlingit, Haida and Tsimpshian peoples of the Northwest Coast. The artists’ gathering is scheduled on Wednesday, June 6th, 11am to 3:30pm at the Old Armory (now the Juneau Arts & Culture Center). All artists working in the Northwest Coast Native art traditions are invited to this event.
For clarity purposes, this artists gathering is a spin-off on the original productions created and sponsored by the non-profit organization Artstream Alaska in 2006 and 2008.
Although the original directors and producers, Preston Singletary and Clarissa Rizal are not a part of the coordination of this year’s event, the following is a brief history of the original Northwest Coast Artists’ Gathering…
Northwest Coast Artists’ Gathering 2006 & 2008 – sponsored by Artsream Alaska
The original Northwest Coast Artists’ Gatherings were sponsored by Artstream Alaska with additional financial support from Sealaska Corporation. The mission of the Northwest Coast Artists’ Gathering is to bring together artists and facilitators that work in the indigenous northwest coast style of art: to foster dialog; to develop connections; to explore new materials and techniques; to inspire new work; and to create a community that is inclusive and thoughtful, and that honors tradition while moving into the 21st Century.
In 2004 Alaska Native artists Clarissa Rizal and Donna Beaver were photographing and filming at “Celebration 2004,” for their regalia documentary project. Clarissa spent time with long-time friend and fellow Tlingit artist Preston Singletary. The concept of creating an artists’ gathering began when Clarissa and Preston talked and wished for an opportunity to meet each other’s artist buddies (Clarissa introduces Donna and Preston). They had no idea that they would meet over and over again, even later that year in September 2004, with approximately 20,000 Native Americans from all over the hemisphere at the opening of the Smithsonian Institution’s National Museum of the American Indian (NMAI). and with assistance from Artstram’s Board of Directors and other volunteers, Preston and Clarissa coordinated the first NWCAG in 2006; four years later in 2008, and again with assistance from Artream’s BOD and volunteers, Chloe French coordinated the Northwest Coast Artist Gathering receiving support from the NMAI.
The Northwest Coast Artist Gathering was a unique opportunity for artists from all backgrounds who work in Northwest Coast inspired art forms to meet and share information about themselves and their work. The event was sponsored by our non-profit Artstream Cultural Resources (now Artstream Alaska) and partially funded by Sealaska Corporation. Artstream Alaska held the first Juneau event in May 2006, one day before Sealaska Heritage Institute’s well-known biennial Celebration. This first Gathering – as it is sometimes referred to – was a one-day event and drew about 125 artists and arts organization representatives.
The second Artist Gathering in June 2008 was a two-day event, again sponsored by Artstream Alaska with partial funding from Sealaska Corporation and NMAI and coordinated by artist Chloe French. The first day featured an artist panel discussion on Native Alaskan art-related issues, sponsored and organized by the NMAI. Several Alaskan Native artists made up the panel — including Marianne Nicolson from Victoria, B.C., Nathan Jackson from Ketchikan, and Nick Galanin from Sitka, along with moderator Aldona Jonaitis, Director of Museum of the North, University of Alaska, Fairbanks. Later, all participating artists were given the opportunity to introduce themselves during a Power Point Presentation featuring their work; this is a highlight of the event since many have either seen an artist’s work and not met the artist or have met the artist but was not familiar with their work! During the second day, Gathering participants worked on an interactive collaborative design project based on the issues discussed during the morning’s panel discussion. Keynote speaker Walter Porter from Yakutat gave his lecture,“Box of Daylight” (view Walter’s lecture from event). Both days’ activities were held at the Old Armory in Juneau.
Many events occur during the Sealaska Celebration. Artstream was pleased to be able to provide space at the Old Armory for the HAIL awards ceremony, spearheaded by the late Andy Hope III. HAIL stands for “Honoring Alaskan Indigenous Literature” and that organization’s event presented awards to five outstanding Native Alaskan writers, of which Clarissa Rizal received one of the awards for her “Jennie Weaves An Apprentice: A Chilkat Weaver’s Handbook.” Artstream also agreed to rearrange its Gathering schedule to accommodate Sealaska Heritage Institute’s final set up preparations for the Native Artists’ Market, which was also to be held in the Old Armory following our event.
The Gathering’s volunteer organizing committee included Clarissa Rizal, Preston Singletary, Aldona Jonaitis, Jan Steinbright, Donna Beaver, Chloe French, Doug Waugh that reflected a mix of cultural and professional backgrounds, including teachers, artists, curators and arts activists, both Native and non-Native. A big thanks to all the artists who attended and all our volunteers who made 2006 & 2008 Gatherings a success!
Northwest Coast Artist Gathering 2006 & 2008 coordinators L to R: Doug Waugh, Aldona Jonaitis, Alan Pizzarelli, Donna Beaver Pizzarelli, Clarissa Rizal, Jan Steinbright, NMAI art director Keevin Lewis, and Preston Singletary
The 2012 Native Artists Gathering sponsored by Sealaska Heritage Institute is inviting all Native artists to bring photographs of their work to share and network. There will also be an artist panel discussion and light refreshments. We envision SHI’s gathering of artists is a welcomed event and enjoyed by all!
Old Timer’s Basketball Poster From the Early 80’s
Hand-silkscreened limited edition of the Old Timer's Basketball Tournament poster, Juneau, Alaska - 1983?
Holy Moly! I just found a couple of copies of this original, hand-silkscreened poster I designed back in the early 80’s – 1981, ’82 or ’83. The image depicts a Raven and and Eagle each grasping a basketball with their claws with a basketball hoop between their heads
I am willing to let go of these last two originals – they are in excellent shape; they are hand-printed on red cedar-like paper and cut in a diameter of 20 inches; this limited edition is signed and numbered – for $495.00 each
As I mentioned, I only have two available; if you want one, then better contact me real quick!
If these don’t sell beforehand, I will have them available for sale at the Sealaska Art Market during Celebration 2012, Thursday through Saturday, June 7, 8 and 9, in Juneau, Alaska – come take a look at other prints and paintings I’ll have available!
“Chilkat Devil’s Club”
Adding the Devil's Club leaves to the black & white Chilkat robe design - acrylic painting on canvas measures approximately 24" h x 38" w - Clarissa Rizal; March 2012
I was commissioned by the NNAAPC (National Native American AIDS Prevention Center) in Denver, Colorado to create an image for this year’s convention. Of course the theme is based on the awareness and attendance to health, healing and prevention. They asked for a traditional image that would reflect their theme. I couldn’t think of anything better than of course, Chilkat!
Added the traditional colors of yellow and blue along with the green leaves of the Devil's Club
If you’ve studied the older Chilkat robes of the past 200 years, you will notice there are robes that have similar designs, where there are slight changes between each robe, yet distinctly they are related – like a variation on a particular theme. I am doing this with my “Chilkat robe within a robe” series. Although I have designed a couple of robes with this same theme for a couple of my students, my very first one that I designed and wove was called “Jennie Weaves An Apprentice” (which I finally finished weaving last August 20122), which is what this painting is based and of course I changed some of the design elements (i.e. smile faces as opposed to grims, etc.), yet the design description (described below) is very different than that of “Jennie…”
Almost completed - just need to add the Devil's Club berries, give the painting a more "painterly" effect, and a coat of matte medium
Native Americans used Devil’s Club both as food and medicine. The plant was traditionally used by Native Americans to treat adult-onset diabetes and a variety of tumors. Devil’s Club is employed as a blood tonic, used in salves for skin ailments, rheumetoid arthritis, cuts and bruises. For spiritual protective purposes, the stalks were shaved of their thorns and placed above doorways, made into beads and worn on the person, and shaved stalk were placed in bowls and placed around the house. Sometimes, Devil’s Club was dried and burned like an incense during certain spiritual ceremonies. In vitro studies showed that extracts of Devil’s Club inhibit tuberculosis microbes. Because Devil’s club is related to American Ginseng some think that the plant is an adaptogen. The plant has been harvested for this purpose and marketed widely as “Alaskan ginseng”, which may damage populations of Devil’s Club and its habitat, which is why many Alaska Native peoples are very protective of our Devil’s Club population; we do not want the plant to disappear because of capitalist exploitation. We consider this plant very precious.
The plant is covered with brittle yellow spines that break off easily if the plants are handled or disturbed, and the entire plant has been described as having a “primordial” appearance. Devil’s Club is very sensitive to human impact and does not reproduce quickly. The plants are slow growing and take many years to reach seed bearing maturity, and predominately exist in dense, moist, old growth conifer forests in the Pacific Northwest, which is why we will harvest only what is needed. There are times we will harvest the entire stalk if the need calls for this, otherwise, we will take a small cutting at the lower backside (the part that does not face the beach or face of the forest). We never harvest the entire plant. To ensure the continuance of the Devil’s Club, we dig a small hole nearby the area we have harvested and we place an “offering” of tobacco, cedar or sage – we are “giving back” and paying our respects. Many Native American people consider ourselves “stewards of the land and sea.”
Devil’s Club generally grows to 3.5 to 5 feet tall; however, instances exist of it reaching in excess of 16 feet in rainforest gullies. I have literally walked under “forests” of Devil’s Club. The spines are found along the upper and lower surfaces of veins of its leaves as well as the stems. The leaves are spirally arranged on the stems, simple, palmately lobed with 5-13 lobes, 8 to 16 inches across. The flowers are produced in dense umbels 4 to 8 inches in diameter, each flower small, with five greenish-white petals. The highly poisonous fruit is a small red drupe 0.16 to 0.28 inches in diameter elongate in clusters.
Devil’s club reproduces by forming colonal colonies through a layering process. What can appear to be several different plants may actually have all been one plant originally, with the clones detaching themselves after becoming established by laying down roots.
This species usually grows in moist, dense forest habitats, and is most abundant in old growth conifer forests. It is found from Southcentral Alaska down throughout Southeastern Alaska to western Oregon and eastward to western Alberta and Montana. Disjunct native populations also occur over 900 miles away in Lake Superior on Isle Royale and Passage Island, Michigan and Porphyry Island and Slate Island, Ontario. I personally have seen Devil’s Club here and there in the higher elevations in marshy areas of the San Juan Mountains surrounding Pagosa Springs, Colorado. The plants are not as large as those in Alaska, but then again, Alaska grows things big.
The completed "Chilkat Devil's Club" painting on canvas for NNAAPC by Clarissa Rizal - March 2012
Design Description of the painting entitled “Chilkat Devil’s Club”
The stylized Chilkat ceremonial robe design depicts a smaller Chilkat robe within a larger Chilkat robe which is part of a series of Chilkat robes portraying “a robe within a robe” image. This particular theme is one that tells the story of the transference of indigenous knowledge healing methods from one person to another, or from one tribe to another, from one community to another, of from one culture to another; this is shown by way of the main human face (the Creator) who has gifted us the Devil’s Club and is flanked by the human faces on the top and left corner of the main robe who are holding the smaller robe (center lower half outlined in the yellow/black border) showing the recipient (smaller human face) of the healing knowledge and simultaneously the recipient of the healing modality. In this case, although the Devil’s Club signifies the ancient healing methodology of the indigenous peoples mainly of the Northwest Coast across the Northern part of the U.S. and southern Canada to Ontario, because of small cottage industries in Alaska and Canada who are creating healing salves, teas and tinctures, the healing properties of Devil’s Club is available to anyone in the world.
An “Argillite” Charcoal
The beginnings of Clarissa's "argillite" done in charcoal
Well,…not only am I finally getting around to posting new posts on my blog, I am finally getting around to doing more work in charcoal – in this case, a charcoal done on raw canvas. I call it my “argillite carving.” (What is argillite? It is a black stone from the British Columbia area suitable for carving.) When completed, this piece will be approximately 30 inches wide x 6 feet tall. I’ll post the finished product when I complete it – stay tuned!
Never Too Old to Live in a Dorm (part-time!)
Half of the dorm room; notice the hummel and ukelele on the wall - playing music helps survive the academia and four walls - the other half of the room is occupied by my Italian roommate
24 years ago, after my last child was born, I took a few classes at the Institute of American Indian Arts in Santa Fe – it was my way of “getting out of the house” without taking any responsibilities with me except those that I carried in regards to schooling. Then I was not interested in achieving a degree so I took fun classes. However, I’ve raised my family on my art income without a back-up “real” job and I thought it’s time to get my Bachelor of Fine Arts; in this way I have the balance of the Indigenous and Western credentials. Why is it important to have that balance? To gain more understanding of the complexities of living in a cross-cultural world.
The Center for Lifelong Learning at the Institute of American Indian Arts
At first, I scoffed at the concept of having to take the requirement classes in Drawing I & II, Geometry, Intro to Indigenous Studies, Contemporary Art, Native Art History I & II, English Composition I & II, etc. — yadda, yaddie, yaddue! Like golly, Holy Moses, do I have to take stuff I pretty much already know!? Friends of mine thought that with my status as a full-time artists for three decades, I ought to be a teacher at IAIA, not a student! Often I had wondered what the heck am I doing wasting my time getting stupid credentials. Yet, I’ve discovered how much I DON’T KNOW and how much fun it is to go through the assignments and learn additional stuff! We humans are so doggone arrogant and funny!
Easy walks on IAIA campus
At IAIA, we either gain weight because of the astounding food at the cafeteria, or we lose weight because IAIA is an easy campus to walk. Up on a mesa, it has 360 degree views of spectacular skies and faraway mountains. Although a biting cold in Winter, it’s sunny about 395 days of the year. And for those of us coming from Southeast Alaska, well…although the countryside lacks the dramatics of the big spruce, hemlock, alders and cedars, there is an ancient silence in the high-country deserts of the Southwest. As any of us Indigenous peoples know, go out onto the land and feel its gifts. There is the everlasting to appreciate.
Sweatlodge skeleton at IAIA; in use during the late Fall/Winter/Spring - what other 4-year accredited college are you aware of that conducts sweatlodge ceremonies?
There is a footpath for runners and walkers alike on campus. I don’t remember how many acres belong to IAIA, but it’s enough to continue growing. Hopefully, as IAIA grows its campus, the designers will always keep in mind our need to be connected to the earth, especially for many of us who are missing our homelands and require being outside — feeling the earth beneath our feet and enjoying the horizon.
Courtyard of the sculputure building at IAIA -- If I am not mistaken, this monumental, marble sculpture is by Craig Dan Goyesun - behind bars, the courtyard gate was locked. I thought this an interesting image.
IAIA is a unique environment. I hadn’t come to appreciate its qualities until this past Fall Semester. There is an Indigenous Studies department that was added to the “normal” Western curriculum of IAIA. Some of the classes from this department are requirements for a BFA. As mentioned earlier, I resisted taking the requirements, yet I discovered how much I don’t know and better yet, I discovered how much I want to learn! I am actually considering achieving a Minor in Indigenous Studies. We’ll see what transpires within this next year.
The Chama River near Abiqui, New Mexico - October 2011
I commute from my studio home in Colorado to IAIA. The 3-hour drive is one of the most scenic in North America (2nd best to that drive from Whitehorse, Yukon Territory to Haines, Alaska!). The drive enables me to relax, listen to Van Morrison’s “Listen to the Lion” and books on tape.
The Chama River with first snow - December 2011
I drive through Geronimo’s Apache homeland and “Georgia O’Keefe” country. Although the high-country desert is a vast difference from the rainforest of my homeland in Southeast Alaska, I thoroughly enjoy and appreciate the beauty both environments have to offer. I am privileged to have the option to experience these kinds of freedoms in America.
Looking towards "Ghost Ranch" of Georgia O'Keefe country during first snow - December 2011
Many years ago, my mother and father, Irene and William Lampe, encouraged me to get a degree; they said it’s the way to “get ahead” and understand living in the Western world. My mother said that back when she was young if she had the grant opportunities we have now, she’d have gone to school and she often wondered what her life would have been like. On behalf of my parents, I’d like to thank the following Grantors for their support:
* Chugach Heritage Foundation * Sealaska Heritage Institute * Tlingit & Haida Central Counil * Huna Heritage Foundation * Alaska Native Brotherhood (ANB) and * FAFSA
Our Class Videos on U-tube
nDigiDreams videography class - Institute of American Indian Arts - Santa Fe, NM September 2011
Spearheaded by Jennifer Coots, Business Program Professor, the Institute of American Indian Arts Indigenous Studies Department sponsored a class, for those of us interested in being introduced to creating 5-minute videos. Each of us told a personal story related to our cross-cultural upbringing and experiences leading to how we were led to attend The Institute of American Indian Arts in Santa Fe.
Our teachers were Carmen and Brenda from nDigiDreams. nDigiDreams conducts community-based digital storytelling training workshops. “We believe our diverse cultures, identities, histories and stories hold enormous strength and beauty and we seek to train and empower indigenous individuals and communities with new media tools to realize optimal health and wellness.” Carmen and Brenda have conducted workshops in Indian Country; think about hosting a workshop in your community. You may check out their website (and view other storytelling videos) at: http://www.ndigidreams.com/
Brenda Manuelito, Jennifer Coots (IAIA Business Professor) and Carmen Rodriquez
You may view my very first video entitled “Generations of Love Made Visible” along with some of the students’ videos on U-tube. Cut and past this link onto your browser: http://www.youtube.com/playlist?list=PLBF1FA84C49C930F7
Thank you very much for visiting!
Sharing Touchon
Cecil Touchon in his studio - February 2007 (photo courtesy CecilTouchon.com)
Interviewers and others have asked how and when I came into creating contemporary paintings and collages with Northwest Coast Native art imagery. I refer them to my friend and fellow artist Cecil Touchon at www.ceciltouchon.com. Back in ’93 Cecil and I met in his then gallery he had recently opened in Pagosa Springs, Colorado. His daughter Brittany was drawing at the drafting table and his wife (and assistant), Rosalia was just running out the door to do an errand. After a lengthy conversation about art, families and life as an artist, I purchased the first item sold from the gallery: an antique wooden hat form. That was the beginning of our life-long friendship.
After visiting me in my studio working on button blankets and a Chilkat robe, Cecil thought it would be cool if I did Northwest Coast imagery in contemporary works in paintings and collages. I thought I’d give it a go; I spent a few days in his studio where he taught me the essence of cubism without even realizing it. Finally, about 5 years later in 2000, I got off my duff and created a painting based on one of my button blankets called “Wrestling With Angels” and created my first 10 collages that I immediately sold at the Santa Fe Indian Market. Since, I’ve been having fun with exploring Northwest Coast Native art in cubist-style paintings and collages.
Cecil's exhibit opening Friday, October 28 in Atlanta, Georgia
Last night Cecil had a show opening in Atlanta, Georgia. Click the link to view his show:
http://www.flickr.com/photos/terrykearns/sets/72157627876660361/show/
Check out the variety of Cecil’s work and writings on his website’s blog: http://ceciltouchon.blogspot.com
Clarissa’s First Gallery Show at the Stonington
"Raven Knows Its Light" multi-media collage with faux pas painted frame - Clarissa Rizal
It’s hard to believe I actually got enough material together for a half-way decent show of some of my contemporary paintings and collages! The show opened on Thursday, September 1, 2011 at the Stonington Gallery in Seattle, Washington. My works were in good company with a couple of other friends of mine, Chloe French and Preston Singletary. Yes, all the works are for sale via the Stonington.
Stonington Gallery show opening - September 1, 2011
"Totem Theories Revisited" acrylic painting on canvas by Clarissa Rizal
Stonington Gallery show opening September 1, 2011
Tlingit World Series #092 - Clarissa Rizal - 2011
The above collage is a series based on the original painting “Ravens Prepare for Next Ice Age.”
"Jennie Weaves An Apprentice" Chilkat pattern board (for the Chilkat robe of the same name) - acrylic painting on canvas - Clarissa Rizal
If you are in the Seattle area, check out the show or…
Read about the opening show article in the Seattle Times – Friday, September 23, 2011: http://seattletimes.nwsource.com/html/thearts/2016289325_ar23tlingit.html?syndication=rss