Aug 1, 2015 | Latest Art Projects, Ravens & Eagles, Tlingit Culture Accentuated, Tools-of-the-Trade |
Collected from rifle ranges, these .22 bullet shells just got cleaned…!
Born to the Tlingit T’akDeinTaan Raven Clan from Glacier Bay, Alaska, I cannot help be the scavenger, a natural-born trait of ravens. Last year, Raven weavers Ricky Tagaban and my daughter Lily Hope collected .22 bullet shells from the Juneau rifle range as trim for the warp of their weavings; I had had the same idea when I saw bullet shells at a friend’s house. So what was the first thing I did when I returned to Juneau!?
Mariella models the 5-piece Chilkat woven ensemble “Chilkat Child” — the apron, headdress and leggings are all trimmed with .22 bullet shells (photo courtesy of Yukon News)
Jun 4, 2015 | Uncategorized |
Amongst 6 other weavings on 6 looms, Nila Rinehart sketches out her pattern for a small child-size Chilkat robe
Since 1989, I have taught at least one class per year; and every year since 1992, I have spearheaded an informal group of Chilkat/Ravenstail weavers gathering. This year, my long-time friend Margie Ramos hosted this class at her vacant apartment. Cozy and warm, it was the perfect thing to conduct the class! Thank you, Margie!
All the students eagerly await the cutting of the birthday pie; My long-time friend of 50 years, Margie Ramos (2nd from right), baked me a blueberry/pear torte L to R: Laine Rinehart, Catrina Mitchell, Nila Rinehart, Karen Taug, Margarget Ramos & Crystal Rogers Nelson
This particular class requirements were: 1). Must have prior experience in weaving chilkat and/or ravenstail, 2) must have a project on the loom ready to begin weaving, 3) weaver is female, must have reverence and gratitude for the style of weaving, etc. 4) must have own pattern or the ability to draft up a pattern (no matter how crude or excellent it can become), 5) Bring sense of humor
Crystal Rogers tries to fix the curve of her Chilkat face’s outer lip
Such a fun class as usual, I am very proud of each weaver’s work and the self-directed project each would like to complete. That’s what this class is all about: tapping into your own inner drive, being aware of your goals, and making the necessary steps to complete your goal.
Karen Taug is terribly happy and content about returning to her Chilkat weaving of a headband
Chilkat weaving isn’t for everyone, though for those who enjoy the weaving process; those who have come to know the weaving and it comes to know you, we find it’s truly a spiritual practice.
Lily Hope explains counting the number of warp ends to her inquisitive children Bette and Louis
In 2017, I have every intention of beginning to teach young girls. My goal is to rent a place in Haines for the a month or two during the Summer 2017 with all three of my kids and their kids (at this time, 7 grandchildren). The three oldest grand-daughters will be 9 and 7; these are the perfect ages to begin teaching them the discipline and art of Chilkat weaving. I would like my children/grandchildren to experience a Tlingit holistic approach to weaving which will include not just drawing the design and preparing the wool to spin, but also, berry picking, fishing, putting up foods for winter, etc. I will have three grand-daughters in this very first children’s class; I will be keeping my eyes and ears open for two more girls around the same age. If you have any recommendations of any young girls who may be interested, let me know!
Nila Rinehart drafts a second pattern for her child-size Chilkat robe with on-lookers Lily Hope (with daughter Eleanor), Crystal Rogers Nelson and Laine Rinehart
Shgen George (with daughter Elizabeth) nears the completion of her black border of her Chilkat robe.
Shgen George came hours earlier for a couple of days to gain as many hours as she could, beyond the class hours. Clarissa Rizal’s Chilkat robe hangs to the right; she begins shaping the background in her design field
May 25, 2015 | Tlingit Culture Accentuated, To Market To Market |
The new guy on the block: Haa Shagoon Gallery features local Northwest Coast arts and crafts
Haa Shagoon Gallery recently opened it’s doors on May 1st this year featuring mainly Northwest Coast art from locals as well as anywhere else along Southeast Alaska and West Coast Canada, though one can find antique woven grass baskets, carved ivory and baleen from Alaska’s far north. Owner Don Morgan says he has sold twice as much artwork since the first two weeks than he did in two months at his other location in the Senate Building just a couple of doors down from his new location!
Owner Don Morgan of the Haa Shagoon Gallery
Haa Shagoon is a Tlingit phrase meaning “Our Land.” Haa Shagoon features artwork from about 20 Alaska Native artists including Jnu Didrickson, Boyd Didrickson, Debra O’Gara, Kay Parker, Ray Peck, Brian Chilton, Irene Jean Lampe, Lily Hope and Clarissa Rizal, to name a few. Items available for sale include carvings of totem poles, plaques and masks, Ravenstail robes, aprons, headbands, limited edition silkscreened and Giclee prints, silver, copper and gold jewelry, pottery, etc.
Everybody’s talking: Artists Jnu Didrickson, Israel & Sue Shotridge, Don Morgan
Generally every day, Haa Shagoon features an on-site artist demonstrating their work; sometimes there are two or three artists, yet always at least one, Most of the artists are locals who live in Juneau, but on occasion Haa Shagoon may feature an out-of-town guest artist spontaneously dropping in and demonstrating for the day! Jnu Didrickson is a regular demonstrator working in carved wooden masks and silver jewelry.
Haa Shagoon Gallery is sandwiched between El Sombrero Restaraunt and the Alaskan Hotel on South Franklin Street, Juneau, Alaska
On special occasion Chilkat or Ravenstail weavers may get the notion to demonstrate the weaving technique, just so we can “get out of the house!”
A Chilkat weaving demonstration took place on Memorial Day weekend, Sunday, May 24th with (L-R) Lily Hope, Clarissa Rizal and Irene Jean Lampe
I have approximately $60K worth of inventory featured at the Haa Shagoon Gallery; they carry the most work I’ve every had in any gallery at one given time in the past 15 years. They feature a variety of my work created in the past 3 years including, 5-piece woven ensemble “Chilkat Child”, the “Egyptian Thunderbird” button blanket, the 6-foot “Totemic Theories” charcoal on canvas, “An Ocean Runs Through Us” limited edition Giclee triptyck, and a wide selection of limited edition Giclee prints.
Front entry of Haa Shagoon Gallery
Haa Shagoon does a 70/30 commission; when an item sells, the artist receives 70%, Haa Shagoon receives 30%. Most galleries do a 50/50 split. Contact Don Morgan if you are an artist interested in Haa Shagoon carrying your work, please give Don Morgan a call on his cell at: 907-209-1501
May 14, 2015 | Tlingit Culture Accentuated, Tools-of-the-Trade, Tricks-of-the-Trade |
Clipping a little girl’s fingernails
To ensure a young girl to become a good weaver, in the olden days, her fingernails were clipped and woven into the Chilkat robes. The late master Chilkat weaver Jennie Thlunaut’s daughter, Agnes Bellinger called this “…kind of like a brainwashing…” This method was to encourage a straight and narrow path for the girl to grow up to be a strong, talented woman of good character. Agnes said “You can use this method for anything you want your child to become…”
May 11, 2015 | To Market To Market |
The Northwest Coast Weavers Supply business card and sticker
The Northwest Coast Weavers Supply launched their website and business last Summer. Owner Lily Hope provides Ravenstail and Chilkat weavers a venue to purchase their basic weaving supplies such as the weft and warp at this easy outlet, on line. Occasionally, Lily will post a blog pertaining to weaving, running the business, the latest new shipment, etc. For supplies for your next weaving project, place your order with Northwest Coast Weaving Supply at: http://www.nwcoastweaverssupply.com or call Lily directly and place your order: 907-957-8378
This was a family-affair to get this baby off the ground: The easy-to-navigate website was created by Lily’s sister, Ursala Hudson at www.whiterabbitstudio.us and the logo of human hands (always depicted with 3 fingers and a thumb in Chilkat weaving) is also to hint at the viewer the fingers are like that of a spider (since spiders were the first weavers in the world), drawn by Lily’s mother, Clarissa Rizal.
Apr 25, 2015 | Class Act, Tlingit Culture Accentuated, Tools-of-the-Trade |
“Naaxein” is the Tlingit word for Chilkat weaving
During the Summer of 2013, a couple of my apprentices and I had volunteered to do Chilkat weaving demonstrations at the Sheldon Museum in Haines, Alaska. While we were there, of course, they had a nice collection of Chilkat weavings from the area, and to our surprise some weaving terms in the Tlingit language! So on behalf of the Sheldon Museum, I post some of the Chilkat weaving terms as well as the origin of Chilkat weaving according to an anthropologist from the turn of the century who wrote the book “The Chilkat Blanket, George Emmons.
In addition to the comment in the above photo made about Jennie Thlunaut’s signature, Jennie’s checkerboard “signature” was a pattern of yellow and blue.
Cost of a Chilkat robe back in the mid-1800’s was $30
Jennie had told me that she sold her first robe for $50. If my memory serves me, it was the robe started by her mother who passed away when she was a young teenager. She thought $50 was pretty good for a Chilkat robe; she had a confident smile on her face as she spoke.
“Kasek’xu” Tlingit word for dye
Jennie and Agnes Bellinger (Jennie’s daughter) told me the golden yellow was what weavers strived for and the best way to do this was all in the urine. The best urine to make the golden yellow was urine from a woman in her last month of pregnancy; second best urine was from a newborn infant. The way they collected the urine from a newborn was to place the “wolf moss” in the diaper and only collect #1 (as opposed to #2) and put the soaked wolf moss in the dye bath. The older the baby, or child’s urine, the more pale the golden yellow. Jennie and Agnes said there is no wolf moss in Southeast Alaska. The moss was a trade item with the tribes on the other side of the coastal mountains in British Columbia, Canada. The youth of the urine made the biggest difference in the color achieved and the set of the dye.
“Kakein” is Tlingit word for yarn
The mountain goat wool and cedar bark spin together as if they were mated for life; they are attracted to one another like bee to a flower! Mountain goat hides are hard to come by; and even if they were easy to acquire, there are so many Chilkat and Ravenstail weavers on board, we would make the herds run away further up into the high barren mountains! In the bio on Jennie Thlunaut here on my website under “Tributes,” there is a map showing the places where the men would hunt for mountain goat. Today there are a couple of guys who hunt mountain goat. We weavers need to do trades with these guys so we can let go of using the 2nd best wool that has replaced the mountain goat: merino wool from New Zealand. This wool is the closest fiber in the world next to the mountain goat. It spins up okay, but not as fine as the bee and flower of cedar bark and mountain goat wool…!
Teey Woodi Tlingit for Cedar Bark
The Western yellow cedar is best o split because the strands are silky smooth (when wet), they pull out into longer strands than the cedar (which is more brittle), and when you spin the bark and wool (done on the thigh), your hands are not prone to the first layer of skin rubbing off! Though if red cedar is all there is to collect, or someone gifted me some, then it is only sensible to not look the gift horse in the mouth. You acquire what you can! It is best to harvest the red cedar when the first sign of spring shows up with new green growth at the tips of the cedar tree boughs.
Chilkat weaving origins
There are several stories of the origin of where Chilkat weaving first began and how it came to and was retained in the Chilkat River Valley in Haines/Klukwan, Alaska. The Nishga’a in the Nass River area claim the weaving originated in the Nass River and only the Nishga’a inhabitated the area, not the Tsimpshian. The Tsimpshian from the Skeena River say Chilkat weaving originated there. The weaving had died out because of western contact in both areas, but fortunately, as one of the stories go, a Chilkat chief married a weaver from the Nass River (or Skeena River?), and then another story says it was the other way around. No matter what the story, all agree that there were specifically 4 sisters of a Raven Clan in Klukwan who unraveled the Chilkat apron to gain the knowledge of how the weaving was done.
Traditionally men designed the Chilkat robes because they were the artists of form line; women were the weavers…
Jennie said she finished a Chilkat robe in 6 months; she had pride on her face as she spoke. I didn’t believe her at first, but after I learned her fingering of speed, accuracy and tension, and I applied her knowledge to my weavings of today, well……?
Apr 13, 2015 | Latest Art Projects, Showing Off, Tlingit Culture Accentuated |
Clarissa begins preliminary sketch of her next Chilkat robe entitled “Egyptian Thunderbird” – © Clarissa Rizal – March 2015
I have started weaving my next Chilkat robe for the Thunderbird Clan. This is all I am saying for now. Stay tuned for periodic blog entries on this robe for this next year…!
Approximately 750 yards of 10 e.p.i. warp is needed for this Chilkat robe measuring 60″ w x 51″h – all warp prepared and spun by Clarissa Rizal
Clarissa’s weaving loom, balls of warp, weft yarns, warp stick and weaving supplies – April 11, 2015
The first 6 to 7 rows of a Chilkat robe are always done in white; this depth is to accommodate the fluffiness of the fur trim added to the top edge of a Chilkat robe. – Clarissa Rizal – April 2015
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?
Mar 26, 2015 | Health and Wellness, Poetry Alaskan, Tlingit Culture Accentuated, Tools-of-the-Trade |
Whenever I can, wherever I sleep, I place the foot of the bed at the window, so i awaken to nature and the first crack of dawn — view of Teslin Lake — July 2014
After nearly 40 years of writing my artist statements, and of all the responsibilities I have done in running an artist business, the writing of statements is the most challenging; I’d rather do my IRS taxes or shrinkwrap my prints, or go to the dentist than write an artist statement! I was even challenged a couple of months ago when at the request of one of my students’ assignments from her art instructor had to choose someone who had influenced her to become an artist, I wrote a brief bio explaining when I began to do my art and why. Even THAT was a challenge, although when I had completed the bio, I was somewhat pleased. (Here’s the link to the bio: http://www.clarissarizal.com/blogblog/birthday-bio/ ).
Even now after writing this artist statement, I asked myself why do I have a difficult time with bios and artist statements? Answer: I don’t like WRITING about myself. (Hey now, for those of you who know me and how much I can TALK about myself, that is very different than WRITING about my self!) When I talk about myself, it is easier because I am talking about the present or the past, I can express myself with animation, and I generally have human responses and conversation. When WRITING about self, it’s all about ME. It’s all about what looks good on paper; how I can (or cannot) articulate my process, articulate my inner sanctions, articulate my inspiration, passions, ideas, and remedies to turmoil and celebrations of achievements. It’s all about making the time to articulate. It’s all about how well I can articulate! And what the heck, I have lots of things I want to DO than spend my time ARTICULATING on paper!!! Articulating through conversations, classes, lectures and presentations is no problem; I do it all improvisationally anyway and it’s always accompanied by storytelling and animated movements, and I ENJOY MYSELF. However, writing about myself has yet to become enjoyable. I repeat, I’d rather do my taxes or even go to the dentist.
Anyway, here’s my latest artist statement. Let me tell you, it was a challenge to write this.
“When awakened by the first light of dawn, my mind filters itself slowly back to this reality while catching up to a body already shaking its legs with enthusiasm to start another day of creating, though dares not because spirit is still in that “delicate time in the in-between” where visions reveal themselves more clearly as I lay quietly, these things “await in the eaves” yet to be created. Those close to me come to understand it is best to leave me alone for up to a half-hour first thing in the morning; disturbing this fragile state of spirit will disrupt the visions of new weavings, new button robes, and new paintings yet to come. It is also a time of communing with those that have long passed, those that I know presently, and those that I will come to know. The things that return with me upon awakening have been manifesting themselves in this reality since birth. Yes, I keep a pen and small notepad on my bedside table.
Rainbow Glacier at the mouth of the Chilkat River – Haines, Alaska – July 2014
Creating every day on 6 hours of sleep per night is normal; I’ve been this way all my life. I create from the time I wake up to the time I collapse in bed 18 hours later. My normal is defined as having many things going on at once: there are three weavings on three different looms, a draft for a new Chilkat robe design, a buttonrobe on the sewing table, paintings half complete, and preps for new collages; but wait I still have to respond to an RFP, fish our Alaskan waters and pick the best wild berries in the world to put up for winter, instigate Chilkat gatherings and retreats, conjure up proposals for collaborations with other artists, terrace the driveway, build, draw or sew with my grand-children, draft another artist statement, prepare for storytelling or lectures, rehearse with the band, plant a tree nursery, sew Easter clothing for all the grand-children, etc. These activities “feed” one another, in turn they feed my spirit and I soar. When I soar, it’s contagious; everyone around me soars.
Totemic images in cement, at Svenson’s home in Wrightwood, CA – December 2014
Being a Creator is nothing new; look around at how the Great Creator is in constant state of flux, expansion and chaos. Artists are no different; we are a “chip off the old block.”
Within is a drive where there is no choice but create. If I did not create, little by little I would literally die – ask me how I know. First my spirit would dwindle, then my emotions depressed, subside, and eventually stagnate. Lastly, my body would shrink, the fire light in my eyes would extinguish, and my breath, expire. While in the midst of this decline, we could call this the “walking dead.” Though, as if the drive within would allow this atrocity to happen? No way. I am vision. I am one of millions of visionary vessels from which creation flows, and to add to my blessings, I am born to a landscape, people and culture rich with beauty, diversity, strength and community – gratefully we Tlingit are grounded within the guidance of our ancestral customs, traditions and relations.
Chilkat and Ravenstail weaving class, under the “sun” in the Elder’s Room of the Kwaanlin Dun Cultural Center, Whitehorse, Yukon – June 2014
Chilkat weaving offers a meditative, spiritual practice similar to repetitive movements in Tai Chi. Woven from mountain goat wool and cedar bark, Chilkat weaving allows me to bring order in creative chaos as if the supple, compact twine of the yarns gliding through my fingertips were the pattern of a spider’s web, weaving new paths within the web of the brain, ever expanding to new horizons, new ways of thinking, and new ways of being, which in turn brings internal strength to the weaver; this naturally and gradually affects every relationship she has with others and self in good ways. Ask me how I know. This process and outcome is one of the main reasons why I teach our traditional Chilkat weaving to our women. For nearly 30 years, periodically, I have left my family and the comforts of home to gather, teach and support our generations of weavers. I remind and inspire our women to use their feminine intuition to converge with the realms beyond our seeing eye; in goodness, we help bring the past into the present, and present into future. When our women are healthy and strong, our world within and without, moves towards peace and happiness.
A circle of clan leaders, carved and painted totems just outside the Cape Fox Hotel in Ketchikan, AK – November 201
It is as though the warp yarns that hang down on our looms is our “veil between the worlds.” We understand the weaving of a Chilkat face puts us in touch with our ancestors. In a conversation with my friend and Chilkat weaver, Suzi Williams: “…when we weave the eyebrows, expressions are shared; when we weave the eyes, suddenly, we can see into their world and they can see into our world; when we weave the nose, lives breathe into our own keeping us alive and vice versa; and when we weave the mouth, we are able to finally communicate fully.” While we are weaving a Chilkat robe, many of us have expressed the uncanny feeling there is a presence standing invisibly behind us, ever supporting us. It is not until a weaver weaves the ultimate, a Chilkat robe, that she understands and feels the spiritual connection and some of our weavers may begin to understand a large aspect of her life’s purpose.
The many braids in weaving the “Resilience” Chilkat robe by Clarissa Rizal – April 2014
A Chilkat robe is a year in the making. Most of us no longer have the patience to devote this length of time to anything. We live in an instant-gratification world; we are no longer conditioned to sit quietly for 2000 hours as we contemplate our lives, let alone our livelihood. Before Chilkat came to me, I had very little patience. I would not create anything unless I knew I could do it in a day. After learning Chilkat, I gained the art of patience, the way of gratitude, and the act of compassion. The universe opened its doors with a flood of information; the kind of information not definable, yet powerfully written in our Native art, in the ways of our people, and in our commune with nature. When a Chilkat robe is completed, a totem pole raised, or a canoe on its virgin sail, new and old songs are sung with a celebration of dancers and a feast to commemorate the story “written” in our art. Our way is an holistic approach to creating art while documenting our history.”— Clarissa Rizal, March 2015
Mar 25, 2015 | Showing Off, Tlingit Culture Accentuated, To Market To Market, Uncategorized |
Amelie dances “Chilkat Child” 5-piece Tlingit woven ensemble woven by Clarissa Rizal – 2015 – all photographs by Jeff Laydon of Pagosa Photography
In the Summer of 2012, I had a couple of weaving apprentices come live with me for a month. All three of us started child-size Chilkat robes (with the intention that the child robe could also be worn by an adult as a dance apron). Over the past 2.5 years with all the other projects, a couple of commissions, travel for weaving classes and gatherings, family, etc., I finally completed this ensemble. I chart my time; it took a total of 5 months to weave this ensemble. The only way to make myself get a job done is to give myself a deadline, usually the deadline is an art show, a dance performance, etc. This time the deadline to complete the entire ensemble was by the Heard Museum Indian Art Fair and Market the weekend of March 6th this year.
Back side of Chilkat Child dance robe – Size 3T – woven by Clarissa Rizal 2015
I used four shades of blues, three were hand-dyed by myself, the variegated blue was dyed by a company in Sitka, Alaska. I used one shade of blue just for the braids. To distinguish the braids from the weavers, it was Jennie’s trick-of-the-trade to use two different shade of blues, one for the weaving, one for the braids! Also, I included curlique shapes in the design form; they represent seaweed, yet also I just wanted to see if I could actually weave the tight curls; they are not necessarily easy to weave, so believe me (which I rarely use that phrase), weaving the curliques in the leggings and the apron were a challenge!
Close-up of Chilkat dance apron and Chilkat/Ravenstail dance leggings – Size 3T (fot small child) – woven by Clarissa Rizal – 2015
I also used three different shades of golden yellow and two shades each of the white/off-white and black. The fringe on the apron, headdress and leggings were trimmed with .22 bullet shells, and all the pieces are trimmed with sea otter fur. Except for the robe, all the pieces were lined with leather with twisted fringe.
“Chilkat Child” torso (hat and upper front part of Chilkat robe – woven by Clarissa Rizal – 2015
Thank you to my 5-year-old grand-daughter, Amelie Soleil Haas for being such a natural-born model. She was easy to work with, took instruction well, and made my little “Chilkat Child” look better than ever!
Grand-daughter Amelie models “Chilkat Child”, with the weaver of the ensemble, her Grandma “Rissy” Clarissa Rizal – March 2015
Folks wonder how I get so much done: Most people who see me out there in the world being friendly and cordial and seemingly always traveling, wonder how I have time to work…well, there’s an explanation for that: when I hole up inside my studio for about 7 months out of the year, I do nothing else but work, work, work–produce, produce, produce. I have a zilch social life; I don’t watch TV except Netflix movies while I am preparing bark, splitting wool, spinning or grooming warp, and I don’t entertain because I don’t have facilities or room to entertain. I tend to be goal-oriented. I like setting goals and achieving them. And as any of you who know me well, I have always had many, many goals to achieve, all at once; there are things to take care of, things to design and make, places to go, people to connect with and bills to be paid! My motto: “Getterdun!”
However, once I am “out of my rabbit hole” and in the world, I am truly out there, but nevertheless doing work, just a different kind of work. It’s my “social work” which generally involves helping with the grandchildren, spending time with friends, networking, traveling to do shows, or teach classes or apprentices, buying supplies and equipment. This life is the way I make a living. It’s been this way for 39 years, it’s too late to get out of it now!
