Adding another layer of paint…!
Last week I finally began painting a pair of small curved canvas paintings, a donation for Sealaska Heritage Institute’s fundraiser art auction in February 2014. For the past 10+ years, I’ve been painting on curved canvasses; it’s fun! Kinda different. And it’s inspirational for me to continue to do more (in between other projects, of course!)
The right corner of the Chilkat robe – the top border of yellow is completed – 26 hours later…! So far so good, I am on track…!
26 hours to complete the yellow border and the 5 strands of braids at the bottom of the border – those hours are in between the hours of this particular Fall, winterizing the house/studio, nor coordinating the Weavers’ Gathering demonstration at the Clan Conference, nor babysitting grand-children, nor painting a donation piece, nor spinning warp for a Chilkat/Ravenstail pouch for another donation, nor cleaning and organizing the studio for another round of intense work until June, nor the daily routine of eating, sleeping, and taking care of my body.
I am far from lazy, from from being bored, far from being a “kept woman” and far from taking a vacation any time soon! All I do though, I LOVE to do; I have a lot of love in my life – all the things I do I love, all the things I be, I love. I realize I spend most of my day “in love.” There isn’t much time in the day spent on things I do not love. I’ve been this way a long time. Even though I may not act like it sometimes, I give thanks every morning no matter what my mood, and I give thanks every night as I put my “home” to bed. It’s been my unspoken way of appreciation and gratitude.
Nobody needs to know any of this though I share it here with you, the reader. Why? Because some day some time long past me posting this blog entry, I may read this again years later, because in a way this blog is like my work diary. I used to keep track of all my work via hard-copy photographs placed in a plastic sleeve with pages of notes on the current project at hand…I’ve got shelves of my work all categorized in big 3-ring binders on shelves I had built to take the weight of it all. Now my recordings have gone virtual with the blog site. I may read this entry years later and it is a reminder of who I have been, where I was at, and I get to compare it with who I am on that future date!
My work lives in the future. My system, my entire way of thinking is mainly in the future. So this blog serves as a vehicle to contain the present-day work and adventures for eventual past reflection. When I am real old and I look upon my past, I intend to enjoy myself and others all over again!
Completed the black top border of the robe – 41 hours later!
Here’s a close-up photo of the black top border of my Chilkat “Resilience” robe that I am weaving for the Portland Art Museum…notice the subtle texture of the weave. I weave over three warp ends instead of two when weaving the black and yellow borders of a Chilkat robe. I learned this from my teacher/mentor Jennie Thlunaut, last of the traditional Chilkat weavers who passed away in 1986. She suggested that I use size 3/6 weft yarns (equivalent to 3-ply commercial yarns) and weave over three warp ends – ONLY IN THE BORDERS! These techniques create a subtle texture and a larger “frame” for the design field of the robe.
I will be posting more updates while weaving this robe over the next few months; stay tuned and thanks for visiting!
Della Cheney and Percy Kunz demonstrates cedar bark weaving at the Weavers’ Gathering demonstration during the Clan Conference in Juneau, 2009
Once again, the Clan Conference will convene in Juneau at Centennial Hall Thursday, Friday and Saturday, November 7, 8, & 9th. This is a time of shared and gained educational experiences from the Native and/or collegiate perspective. For more information on the details of the Clan Conference and a listing of the lectures, please click here to visit the website. or click here for the Juneau Empire’s announcement of the Clan Conference.
Chilkat, Ravenstail, Cedar bark and Spruce root weavers will gather together in the lobby of Centennial Hall for the entire three days, 10am to 4pm to share their knowledge. In 2009, the presentation was a big hit, we’ve been asked to demonstrate again. Click here to see past photos of the weavers’ demonstration.
We welcome weavers to join us and participate in this fun endeavor! Contact Clarissa Rizal or Lily Hope if you are interested!
Left to Right: bundle of Chilkat template transparency pattern sit atop 800 yards of Chilkat warp; the warp stick (to measure the warp lengths efficiently – fashioned after the late Chilkat weaver, Jennie Thlunaut’s stick); dyed yellow weft and black weft yarns accompanied by stack of baby socks (for keeping warp ends clean); deep turquoise blue weft yarns; backdrop is a partial view of the Chilkat robe pattern board
After 3 months of preparing my materials and pattern for my next Chilkat robe, I am about to begin warping the loom (aka “dressing” the loom),…maybe by tonight! I am on schedule. My goal was to begin weaving the robe on October 15th! Today is the day! And I celebrate here with you today with a photo of my materials!
This robe is commissioned by the Portland Art Museum; check out the complete image and story on this robe at this former blog entry. And read Portland Art Museum’s Curator of Native American Art, Deana Dartt-Newton’s narrative of this robe.
Building the frame for the “totem pole”
That time right before I wake up is a sensitive time; it’s when things come to me, ideas, concepts, meaningful dreams, etc. That’s how this idea came to me; this idea of a kind of “totem pole…” That was a little over 10 years ago…still making them…!
Stretching the canvas over the curved masonite towards the backside with the seam stapled down the back’s center bar
No nails are used; all pieces are held together with screws. The canvas is stapled to the back center bar. Below are two versions of the totems. One is acrylic on canvas; the other is charcoal on canvas. I have proposed to create a version of these for the Mendenhall Valley Library in Juneau, Alaska. We’ll see if my proposal is accepted.
Charcoal on canvas “Argillite Totem Pole”
Acrylic on canvas – a painted version of the Charcoal on Canvas above
The photos in this blog entry represent a few public art created since 1987 to present day. (No, they’re not in chronological order according to date completed). Some of these art installations are carved, painted, inlaid; some are beaded sculptures using 4mm and 6mm Czech fire-polished and Austrian crystal beads; and some are hand-sewn wool fabrics with buttons and seed beads.
“Dancing Northern Lights” – Anchorage Senior Living apartment complex atrium, Anchorage, Alaska Czech and Austrian Crystal beads, 4 to 5-foot lengths by 35 feet of beadwork
“Going to the Potlatch” – MV Kennicott cafeteria, Bellingham, Washington – carved, painted, airbrushed, beaded & button work – 4.5 feet high x 15 feet wide
“Salmon Return” – Mt. Roberts Tramway stairwell, Juneau, Alaska – Czech and Austrian crystal beads – 4.5 feet wide x 28 feet long
“Salmon Return” detail
“Shaman With Spirit Guides” – SEARHC (Southeast Alaska Regional Health Corporation) foyer, Sitka, Alaska – carved and painted central panel, hand-sewn applique and mother-of-pearl buttons on wool – 4.5 feet high x 15 feet wide
“Following Our Ancestors’ Trail” – Alaska Native Medical Center hospital 2nd floor entry, Anchorage, Alaska – carved, painted, airbrushed, copper in-lay, mother-of-pearl buttons, brass brads – 9 feet high x 11.5 feet wide
the character with the spear represents “..represents .gathering from the sea”
“Following Our Ancestors’ Trail” was the theme for the Sealaska Heritage Institute’s “Celebration” in 1992. We created a hand-silkscreened poster with this image. This carving for the Alaska Native Medical Center in Anchorage, Alaska is on the 2nd floor entry. It is mounted to the curved wall of the “meditation room.”
copper pennies for the eyes….
the character carrying the “basket of berries” represents “..represents .gathering from the land…”
the character in the center carrying the copper T’naa represents the “…history, culture, arts and wealth…”
…the large character in the center design field’s face has hand-pounded copper eyebrows and eyeballs…the large image represents the face of the sun
the character with dance staff is the “elder leading the way along the ancestors’ trail…”
Mother-of-pearl buttons are nailed down with copper brads. The humans moving in the same direction as salmon…represents living with the natural cycle of life.
view of the right side of the curved wall mural of “Following Our Ancestors’ Trail…”
the inside of the “meditation room…”
full view of “Following Our Ancestors’ Trail…” – the footprints on a path, the ancestors’ trail and the path of the sun; the humans are the “rays of light” as the sun rises, life everlasting
Glass Tlingit “Baskets” by Preston Singletary
Directly after the retreat with Sue Shotridge and Melissa Rinehart, Sue and I went to visit our friend, Preston Singletary. For those of you who don’t know Preston yet, he’s that artist who does the Native designs on glass. He’s got a studio in Seattle equipped with lots of glass forms stuffed in shelves, boxes for shipping, packing material and 5 employees. The guy and his team really produce! Holy! — If you are interested in doing glass, go talk to the man. Click her to check out his website!
Preston’s studio is nearby Seattle’s Space Needle
David Svenson is another fantastic artist, working mainly in neon art living down in the mountains above L.A. – He used to live in my beloved Haines, Alaska back in the early 70s and 80s where he learned how to carve from the old masters, Leo Jacobs, Johnny Avatok and another elder whose name just slipped my tongue, dang it! Back in the early 80’s David suggested to Preston that he begin to put the Native designs on glass – that’s the story I heard, but ask the fellows to get the sure story because I may be wrong.
Sandwiched between two favorite buds: Preston and David
What can I say about these three artists above? Birds of a feather flock together. I didn’t really GET that saying until I had a lovebird years ago. My Lovebird “Kiwi” taught me many things about being human; get that…it took a bird to teach me about being human. Hmmm…go figure.
Shelves of glass forms by Preston Singletary waiting to be completed
I wasn’t sure how Preston’s employees would feel about me taking photos of them while they were working so I didn’t. I don’t even know how Preston feels about me posting photographs of his unfinished work on my blog in this public forum yet who gets to see art in their “naked” stages(?) nobody; I better contact him and see if it is okay to show them “naked”, incomplete. I am proud of this guy; I feel like he’s my younger brother. He’s got quite the dedicated group of folks; he’s a fortunate man to have these crew members. In fact, I gotta say that I am generally proud of my fellow artists! They have taken the leap into the “unknown” possibilities of bountiful possibilities and realities!
Sue Shotridge, David Svenson and Clarissa – in Preston’s studio
David Svenson and the glass Bear
the first of several illustrations for a children’s book by Hannah Lindoff
Alaskan-born writer, Hannah Lindoff is writing a children’s book about a child’s experiences in putting up foods for winter from Southeast Alaska’s sea and land. Another artist formerly born and raised in Juneau, Nobu Koch and myself are collaborating on the illustrations. Above is an example of our combined efforts.
Under the influence of my friend, the infamous collage-artist/painter, Cecil Touchon, I began making collage about 12 years ago in 2001. He encouraged me to take the Northwest Coast form line art and “play” with it. I copied his technique, using similar materials and added the form line elements. Such fun!
I am currently working on the last few collages for the book. By the first weekend in October, I will then scan and email them off to Hannah for approval before she then emails them off to Nobu to complete image. I am working on these collages in my studio in Colorado, Hannah writes in Juneau, Nobu is living and working in Seattle; how cool is technology that the three of us, who live miles apart, can collaborate on a project together like this?