Sep 6, 2015 | Latest Art Projects, Ravens & Eagles, Showing Off, Tlingit Culture Accentuated, To Market To Market |
With hecklers from the side line, Ozzie Sheakley sports a “sporty” jacket with the 40-year anniversary design of a canoe with images of the 4 main clans from Hoonah, Alaska. Designed by Clarissa Rizal — photo by Deanna Lampe
I rarely wear these type of sporty jackets made of synthetic materials. I am spoiled with the wool jackets made by Woolrich or Pendleton. Remember the halibut jackets that were worn by all the cannery workers here in Alaska? And later on the Pendleton company started coming out with their fancy, lined Pendleton jackets and coats. That’s more my style. However, a jacket that has this cool image on it make me want to spend $250!
Sep 1, 2015 | Latest Art Projects, Tlingit Culture Accentuated |
“Raven Steals the Sun” Chilkat “tunic” t-shirt design by Clarissa Rizal – 1994
Over 20 years ago I designed this Chilkat “tunic” specifically for a t-shirt. I think only 5 or so shirts were printed. I’m not sure why I didn’t print any more than that. Anyway, if all goes as planned, I will have these T-shirts available for sale at the Clan Conference in Juneau, Alaska where a group of us local weavers will be doing another demonstration/presentation in the lobby of Centennial Hall starting on Thursday, October 29th. See you then!
Aug 23, 2015 | Adventures of Rear-Mirror Rissy, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Wearing a Tammy Beauvois “beaded” dress and a pair of Chilkat armbands that she wove, Clarissa stands between her Chilkat curtains (she designed and printed), with her latest Chilkat robe behind her on the loom below “An Ocean Runs Through Us” Limited Edition Giclee triptych print – Photo by Juli Ferrerra
I had never heard of the Santa Fe Indian Market until August 1987; it was the first time I had seen so much fantastic art in all my life. One of the first booths I had seen was the Alaskan gal Denise Wallace’s jewelry; of course there was a huge crowd around her booth like no one else’s because her astounding jewelry was like none other. She was and still is, a celebrity.
Northwest Coast Native Tlingit artist Clarissa Rizal with Julia White from the Tulsa Artist Residency
The market opens early Saturday at 7am for those art collectors who are racing for that prize possession and enthusiasts who want to get ahead of the crowd. I had heard several people from a number of institutions came by my booth that early but I was not available. Directly after I spent 2 hours setting up my booth, directly at 7 I had to pick up my “Chilkat Child” who I had entered into the Juried Art Show; it took about an hour of waiting in line. However, I was able to catch Julia White, the coordinator of the Tulsa Artist Residency, from which I was one of 12 artists across the nation who was chosen as a recipient of their inaugural residency fellowship to live and work in Tulsa, Oklahoma for a year.
Full view of Clarissa Rizal’s booth (day 2) at the Santa Fe Indian Market 2015
I did my very first Santa Fe Indian Market in 1994 winning the Best of Show with my “Following My Ancestor’s Trail” button blanket wall mural which sold to a collector from Tuscon, Arizona. I won about $5K in awards, sold my load of button blanket greeting cards featuring 9 of my favorite robes, and sold a Ravenstail headdress. I walked away with a chunk of change; it was enough to put a down payment on a house!
Left side of Clarissa Rizal’s booth at the Santa Fe Indian Market 2015, featuring “Northwest by Southwest” button blanket robe surrounded by Giclee prints, and clothing/ceremonial regalia for children
The Santa Fe Indian Market is a zoo; it draws about 100,000 visitors from all over the world for the week before and after the Market. Lots of traffic jams in Santa Fe during this time. I don’t understand how artists can do this show every year. I cannot do this show every year. It takes me about 4 years to re-couperate which is why this is only the 5th time I have been an artist vendor at the market. It’s a lot of work to prepare for the market, then we gotta set up at 5am to 7am when the market opens. And when the day is done at 5pm, we gotta strike the set and pack it up, only to do the same thing the next day. It doesn’t sound like much, but believe me, it IS!
Right side of Clarissa Rizal’s booth at the Santa Fe Indian Market 2015 featuring “Egyptian Thunderbird” button robe surrounded by Limited Edition Giclee and hand-silkscreened prints and the 5-piece Chilkat woven ensemble “Chilkat Child” all by Clarissa Rizal
I had a good time at this market. It was the first time my booth faced the sunshine; I think that is why I enjoyed this year better than all the other years. You see, when I come from a grey, damp place like Juneau, Alaska and land in the arid country of Santa Fe, New Mexico, it naturally puts a smile in my body. Many of us Tlingits know what I experience!
And yes, all the items you see in these photos of my booth at the market are for sale, except the white curtains and the chilkat robe on the loom. I invite you to contact me for prices and more information.
Cousins Likoodzi and Violet
Another pleasant aspect of this year’s Indian Market included being with my kids and grandchildren during the week. There’s nothing like being a grandma. And though I am not a great grandmother, I am learning how to become one…!
Israel Shotridge, Preston Singletary, Sue Shotridge (obscured) and Clarissa Rizal talk definition of a mentor – photo by Kahlil Hudson
The night before the market, several Tlingit artists gathered together for a dinner at my son’s house in Santa Fe. We were discussing the logistics of creating a mentorship program for our artists back home, based on New Zealand’s Maori artists. We asked ourselves enough questions, like “What does it mean to be a mentor? How do you know you are a mentor? What are the expectations of self as a Mentor and expectations from the apprentice?
Kahlil holds daughter Violet while the little old man “Hassie” runs amok!
There are many events sponsored by other organizations outside of SWAIA’s (Southwest Association of Indian Arts) annual Indian Market, including an offspring of the Indian Market called IFAM which takes place for two days at the “Railyard”; there’s an artist supply market at the El Dorado Hotel de Santa Fe; there’s Dorothy Grant’s fashion show and of course, numerous gallery openings!
The 2015 Institute of American Indian Arts Scholarship Dinner and Auction
The Institute of American Indian Arts Scholarship Gala is held the Wednesday before the Santa Fe Indian Market (Saturday & Sunday); the place is packed with prominent artists, arts organizations across the country including representatives from NMAI (National Museum of the American Indian), NACF (Native Arts & Culture Foundation), art historians and collectors. I was invited by NACF to be a guest at their table since I had recently won this year’s fellowship.
Who were these people who shared a delicious meal at the IAIA Gala dinner table?
Nearly 22 years ago when I first had a booth at the Santa Fe Indian Market, the only Northwest Coast artist represented was a totem pole carver, Reggie Petersen from Sitka, Alaska. He said he had been doing the market for nearly 20 years with no other comrades from the Northwest except clothing designer, the late Betty David, and he was so happy to finally see “another Tlingit!” Although we had never met, he hugged me as if I were the last person on earth! lol. His wife, 4 children and he would make it an annual sojourn where they would take the ferry from Sitka to Seattle, then drive to Santa Fe and back again. He always had a log that he was carving smack dab in the middle of the Santa Fe Plaza. He said this was one of the ways in which he received commissions for totem poles. Lots of work being a full-time artist with 4 children.
Haida basket weavers Diane Douglas-Willard, her daughter Jianna and Dolly Garza are vendors at the market too. Diane says she has been a vendor at the Market for 20 consecutive years.
Tlingit photographer Zoe Marieh Urness and her twin sister with a visitor at her IFAM booth BEFORE the Santa Fe Indian Market
One of the hardest things about being a vendor at the market is that I don’t have time to take a break and visit all the other artists let alone attend all the other activites such as the main-stage performances or the fashion show. However, the day before Indian Market began, my daughter Lily and I took a jaunt over to the Railyard where the IFAM art show was happening. We saw several Northwest Coast Native artists including Peter Boome and Zoe Marieh Urness!
Coast Salish artist Peter Boome making a sale with customers at his IFAM booth
I admire the small city of Santa Fe for its unique architecture, dramatic style in clothing, furniture, jewelry — everything for that matter! Even its people! Check out the Trader Joe’s de Santa Fe! Holy—now THERE’s a mixture of all kinds of folks in a middle-class store! Simply entertaining to watch who shops there.
During the early morning of the first day of the Santa Fe Indian Market, a large group of young protestors marched through announcing their disagreement with the government continuing to pollute the Southwest environment and then lying about it. I was surprised there was a demonstration yet proud that the younger generation has stepped up to the plate. It is a good thing to bring awareness to the general public about atrocities to our human race and its well-being.
Sure felt good to see demonstrators for a worthy cause during the opening day of the Santa Fe Indian Market
And then directly after the demonstration, there was this guy across my booth standing with a black, worn-out umbrella. (He sure looked familiar! Lol.) The sun wasn’t even at its hottest yet, though he was prepared for anything. That’s the message for you folks today: be prepared for anything!
Is that Israel Shotridge under the umbrella on Palace Avenue in Santa Fe, New Mexico during the Indian Market
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.
Jul 29, 2015 | Acting Out and Musical Chairs, Adventures of Rear-Mirror Rissy, North Tide, Tlingit Culture Accentuated |
Retired Juneau police officer Ben Coronell allows Grandma Suzi to sit on his lap, while his wife Penny laughs along with everyone else
Sharon Shorty is Grandma Suzi and her comedian partner is Duane Gastant’ Aucoin as Cache Creek Charlie. They both live in Whitehorse, Yukon Territory. These photos were taken during the last feast during the 3-day “HaaKusTeYea” Celebration at the Teslin Cultural Center. Generally, I write a dialogue to accompany the photographs in my blog posts. In this case, I just let the photographs speak for themselves. All I can say is that not only were the comedians totally outlandish, and I laughed hard till I cried, I totally enjoyed watching the “victims” laugh like had never seen them laugh! Grandma Suzi and Cache Creek Charlie are excellent medicine. If they ever come to your neck of the woods or you go to theirs, catch them!
It was a good feeling to see our Tsimpshian carver David Boxley, Sr. laugh as hard as he did — and we laughed to will cried…!
Alias Duane Gastant’ Aucoin and Sharon Shorty from Whitehorse, Yukon are Charlie and Suzi
David dances the “grouse mating dance” while Grandma Suzi can’t contain herself…!
The “grouse” chases after his chosen “mate.”
the audience laughed as long and as hard as they…!
Creek Charlie pulled fashion designer Dorothy Grant up from her chair and made her get on her back like a rag doll and exclaimed “I am wearing Dorothy Grant…” (as opposed to “I am wearing A Dorthy Grant!”
Jul 23, 2015 | Tlingit Culture Accentuated, Tools-of-the-Trade, Tricks-of-the-Trade |
“Frog” clasp for button robe
Here’s an easy front clasp for button robes. Fetch one from JoAnn’s for about $5 (depending on size). One was enough for this robe however, if you have only smaller size, then think about using 2 or 3 “frog” closures for the robe.
Jul 13, 2015 | Adventures of Rear-Mirror Rissy, Class Act, Latest Art Projects, Tlingit Culture Accentuated, Tools-of-the-Trade |
7-year-old Elizabeth Hope reads the step-by-step instructions out loud on how to make a drum
Sealaska Heritage Institute sponsors the “Baby Raven Reads” program which mainly teaches young children how to read yet also conducts other cultural projects for the young minds and bodies. This past Sunday, Mary Folletti taught the drum making class for children and their families took place for a couple of hours at the Gajaa Hit Building near the ANB Hall in Juneau. Thank you Davina Cole, project coordinator from SHI…!
Prepared raw hide is soaked in water
The drum making kits were purchased from a supply store in Centralia, Washington State at Centralia Fur and Hide Company (their website is of the same name). The kits included the pre-bent wood frame, the pre-cut circle of hide and the raw hide threads.
A few tools and supplies needed for drum making: needle-nose pliers, hammer, scissors, push pins and “Tightbond” wood glue
My grand-daughter Elizabeth and I were one of approximately 20 Juneau families who took this class. Most of the children were around 4 to 7 years of age, though there were a few younger.
After the raw hide has soaked, place on a flat surface smooth side down with pencil markings facing down; pat with a towel to absorb excess moisture
For many years my friend, Becky Etukeok made drums from local hides such as deer, moose, and caribou. After taking this class I have a larger admiration towards her dedication to this art form. I had never seen how drums were made nor had the appreciation of how they were made until doing this simple class where all the hard work was done for us. Although Beckie now is the program director of arts at the Alaska Native Heritage Center in Anchorage, she is still known as “Beckie Drum-maker.”
Soak spiral-cut, 3/8″ “threads
When threading, pull so there’s no slack, but not too tight as that will make your drum too high pitch.
Instructor Mary Folletti demonstrates how to begin threading
How to include your young child in making a drum:
* Let your child explore the materials (sinew, frame, hide) while you name them.
* Talk about how the frame is a circle. Ask what shape the hide is and why it’s bigger than the frame
* Ask what the different materials feel like (smooth, wet)
* Ask or explain where the materials comes from (deer, tree, intestines)
* Count the holes together, name the tools (hammer, pliers, scissors)
* They can help pull the sinew through
* The can help “pull tight”
* They can help hammer tacks with close supervision
Begin threading through one hole and tie a half hitch knot
Thread through the hole directly across the first hole, and repeat
Clarissa helps her grand-daughter Elizabeth how to create a handle
Most everyone in the class has created their “star” pattern
I had a blast making this drum with my grand-daughter Elizabeth. I look forward to doing more cultural things with all of my grandchildren as they grow up.
Some drum makers fold rawhide between the threaded areas over the frame and hammer a tack in each section to hold it down.
When you have completed your drum, make sure you take the thumb tacks out and let your drum dry on a clean, flat surface, face up. Depending on your climate: it takes about 2 days to dry in Alaska, though at 7000 feet where the climate is a bit drier like the 4-corners area of the United States, the drum may not even take a day to dry!
Directly after creating the handle and pushing the raw edges of the leather to the inside of the drum, with her strong fingers, Elizabeth carefully smoothes the frame removing all the big folds and wrinkles – you must do this step as soon as possible before the hide even starts to dry
HOW TO CARE FOR YOUR DRUM:
Your drum was made out of an animal and a tree and some say the drum is a living being so you want to honor its spirit with love and respect
Store it wrapped in cotton, wool, or a custom drum bag face up or on a wall. Keep it from extreme temperatures and direct sunlight as heat may cause it to crack.
Water expands and heat constricts. On sunny days you can mist with a damp cloth or spray bottle. If your drum is cold you can warm it slowly, using your own skin as a gauge.
Clean with a slightly damp cloth. You can condition with Shea butter bought from cedarmountaindrums.com
Careful not to set anything on your drum and remember to play your drum often. It wants to sing!
Mary Folletti teaches some of the kids how to do various beats with their new drums and drumsticks
How to make a drumstick:
You will need a stick, padding (cotton or wool cloth), sinew, and a piece of buckskin.
1) Put glue on one end of stick covering 1″ down around the whole stick.
2) Wrap padding around end of stick that you glued, snuggly not to tight.
3) Use sinew and wrap around padding a dozen times crisscrossing, then tie off on stick behind padding.
4) Center Buckskin on end of padded end, pull down stick and hold snug behind padding then wrap sinew very tightly around buckskin and stick 7 to 9 times; tie off using scissors to trim excess buckskin
Jun 29, 2015 | Adventures of Rear-Mirror Rissy, Class Act, Honoring Others, Tlingit Culture Accentuated, Tools-of-the-Trade |
Artist, Professor, and Instructor of Tlingit form line art, Lance Twitchell introduces the class first with the spiritual and cultural context
Yes, I took an evening of form line instruction. Yes, even though I have been drawing formline for nearly 40 years, I felt like I could use some FORM-al instruction. I learned a bit from the instructor, Lance Twitchell. I learned a few techniques that I had never though of using AND I learned that I am not too bad of a designer, and that I could use some more assistance and inspiration. After all these years, it’s fun taking a class in which you know almost as much as the instructor! Lol.
Approximately 18 students, many of them just beginners, in the form line class sponsored by Sealaska Heritage Institute
A few years ago, Sealaska Heritage Institute took it upon themselves to begin teaching form line classes after Haida Artist Robert Davidson told the audience in attendance at the Sealaska Juried Art Competition that “the Tlingit people didn’t have very good artists who mastered the form line art.” (I had heard complaints from other well-accomplished Tlingit artists about Robert’s statement. I laughed at the absurdity, though at the same time I know that all of us will continually better ourselves at the formline art. Even so, did Robert realize his statement was a slap in the face to several Tlingit artists who have been working as long as he or nearly as long, like Nathan Jackson, Preston Singletary, Israel Shotridge, Rick and Mick Beasley, the Chilton brothers, etc.?)
Students were given the task of choosing a design aspect of the carved bentwood box shown on the screen to replicate as best as they could on their drawing paper
I don’t know if Robert realized how he was saying these things may have caused a ruckus for the locals though nevertheless, SHI decided it was high time they do something about educating the Tlingit artists no matter where they were in their careers as designer/artists.
Lance provided a list of the various form line definitions created by Bill Holm and Bill Reid over 40 years ago
Lance Twitchell added some very good aspects to the one-night instruction plan: the design terms in Tlingit language! I felt Lance did a fine job of leading the students carefully step-by-step. Though the part I enjoyed the best about his presentation was his acknowledgement of all the artists who had gone before and the spiritual representation of the art. — Being self-taught in Tlingit form line design, I appreciate the fact that SHI has taken the initiative to conduct classes throughout Southeast Alaska. If we had these classes 10, 20, 30, 40 years ago, I would have taken them…and that’s why I had the privilege to finally attend one! Thank you Sealaska Heritage Institute!
Tlingit Names in Formline
Jun 8, 2015 | Latest Art Projects, Ravens & Eagles, Showing Off, Tlingit Culture Accentuated |
Raven Button robe is a collaboration of designer Preston Singletary and sewer Clarissa Rizal
A couple of years ago, I wanted to make some button robes, but I didn’t feel like designing them. I guess I was just feeling lazy! So I did what I’ve never done before – I asked another artist for designs! I called up my friend Preston Singletary and asked him if he had any designs on hand that were suitable for button robes. He sent me two; one of the robes is now owned by Crystal Rogers Nelson and the other one is this one: Raven. Made with black and red wool melton cloth and some of the thousands of antique mother-of-pearl buttons I have been collecting for a good 25 years. Little does Preston know that we are 2 of 11 Native American artists invited to submit something for an exhibit that is traveling Russia for over a year.
“Woven Together” is an exhibit intended to share a small part of Native American culture with Russians in the Urals. This will likely be the first exposure to Native American culture for many who visit the exhibit. Typically, the Consulate supports such artistic exchanges in order to encourage contact between Russians and Americans and to promote interest in the diverse people that inhabit the U.S.
Clarissa Rizal sorts antique mother-of-pearl buttons for the Raven button — a collaboration between designer Preston Singletary and button robe maker Clarissa Rizal
The exhibit will travel to three cities in Russia – Yekaterinburg, Orenburg and Surgut. In all three cities there will be opportunities to show objects in display cases as well as on the walls.
Yekaterinburg is an industrial city and the capital of the Urals. Previously, they have hosted an exhibit of Native American photography.
Orenburg is a remote city in the south of the Urals that is simply interested in learning more about other cultures. This will be their first time hosting an exhibit the American consulate and they are very enthusiastic.
Surgut is a city located in a region that is home to the Khanti and Mansi peoples. The region is committed to preserving and honoring the cultural heritage and traditions of the Khanti and Mani peoples, and they are particularly interested in the Woven Together exhibit to learn more about Native peoples in the U.S.
Corners of “Raven” button blanket made by Clarissa Rizal designed by Preston Singletary 2015
Jun 6, 2015 | Tools-of-the-Trade |
“Frog Speaks” sand-blasted glass window by Clarissa Rizal – 2001
Back in 2001 I had the privilege to apprentice with two glass artists Preston Singletary and David Svenson at the Pilchuck School of Glass. We were working on the glass pieces that were inserted into the totem pole that David had designed to honor the 30-year anniversary of Pilchuck. The main body of the totem pole was carved at the Alaska Indian Arts in Haines, Alaska by Wayne Price, John Hagen, Steven Brown, Lee Heinmiller, David and others. While at the school, Preston encouraged me to use some of the school’s other studio spaces, like the print-making studio, or the sand-blasting area, etc. I learned how to prepare a plate of glass for sandblasting so I could create an embossed, limited-edition print of one of my favorite button blanket images called “Frog Speaks.” I kept the glass plate; since it’s been a part of my window decor in my studio. Maybe someday I’ll make a second edition of this print OR maybe someday I’ll make a series of embossed prints — just never know!
