Mar 23, 2015 | Tools-of-the-Trade |
Grand-daughter Amelie helps wind smaller 2oz balls of weft yarns on the Boye electric ball winder
For nearly nearly 30 years I wound all my balls of weft yarns by hand; do you know how many hours and hours and hours that was for 10 major woven robes and woven ensembles and weaving classes/apprentices? Do you know how many hours I could have used for weaving instead!?!?!
The electric Boye ball winder surrounded by balls of Chilkat warp and weft yarns
Well….luckily my dear friend and fellow weaver, Catrina, allowed me to borrow her electric ball winder when my hand-winder broke. An electric ball winder; I never heard of it until I fetched it from Catrina and voile’ what a blessing——– OH, THAT WAS THE BEST THING THAT COULD HAVE HAPPENED TO THAT HAND-BALL WINDER —— I JUST WISHED IT BROKE 30 years ago!!!!!
Close-up of the electric Boye ball winder
The Boye electric ball winder retails at $120, HOWEVER, you may buy a new one for $60 via eBay or at JoAnn’s with a 50% off coupon! GO GET ONE NOW! Spare yourself the trouble of hand-winding; you’ve got better things to do with your time like weaving, weaving, weaving!!!
Mar 21, 2015 | Class Act, Tools-of-the-Trade, Tricks-of-the-Trade |
1/4″ strip of sea otter fur being looped through the top edge of a Chilkat robe
Sea otter fur is THE, or close to THE most warmest fur in the world with over 100,000 individual hairs per square inch! Yes, there are tricks-to-the-trade of working with sea otter fur.
TO CREATE A FULLER-LOOKING BAND OF SEA OTTER FUR TRIM (follow these instructions): After you have cut your 1/4″ strip to loop through your heading cord of your Chilkat or Ravenstail weaving, place your weaving on its front, with the WRONG SIDE FACING YOU! Depending on the size of your warp, loop through every 2 to 3 warp ends, using an overhand stitch, from FRONT TO BACK.
With your large-eye tapestry needle, carefully, gently, work the fur out of the looped eye of the warp to distribute the fur evenly and cover up any signs of warp or heading cord.
Good luck following directions!
Mar 11, 2015 | Adventures of Rear-Mirror Rissy, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Sue and Israel Shotridge enjoy one another; Clarissa Rizal’s “Chilkat Child” won Best of Class at the Heard Museum Juried Art Show, Phoenix, AZ – March 2015
Doing art markets alone is not as much fun, however if you get along with other artists who may want to do the show alongside with you, like Sue and Israel Shotridge, it’s so much more fun! We had a blast! This was their first year at the market; this is my third year. We were two of 600+ Native American artists featured at the Heard Museum Native Art Fair and Market usually held the first weekend in March; this was the Heard’s 57th year. Sue and I were not quite a year old when they first started this fair! There were also a few other Northwest Coast Native artists at the Fair, though not many of us: Dolly Garza, Diane Douglas-Willard, and Zoe Urness.
Shotridges and Rizal combine their “gallery space” in each of their 10′ x 10′ booths at the Heard Museum Indian Art Fair and Market, March 7 & 8 – Phoenix, AZ, 2015
To be a part of the fair, the application process starts each year in July. To qualify, you must be at least 1/4 Native American with proof of your CIB (Certificate of Indian Blood), there’s a $25 application fee, the largest, 10’x10′ booths are $500, you must provide a resume’, and 10 images of your best work within the last 3 years. It’s easy for myself because I have established a large body of work over the past 39 years, though for emerging artists, the application process may be intimidating; however, keep your faith in yourself, put your best foot forward, and if you have nothing major to show for yourself, then get on the ball and produce some work before the Heard Museum deadline for application! Get it together, step up to your plate that’s waiting to “feed” you! It’s up to you!
Israel Shotridge drums and sings a clan song to an audience in his booth at the Heard Museum Native Art Fair & Market, Phoenix, AZ – March 2015
A select group of the booths at the Heard are 10′ x 10′. The Shotridges and I took down the canvas wall that divided our booths; we wanted to be able to converse and especially have more light AND give buyers and opportunity to “step into our gallery.” —- These shows can be a lot of work. It took three hours to set up my simple booth below. It took three hours for the Shotridges to do the same. Yet there is a simple pleasure in the accomplishment of making our space look inviting, and in our opinion, it really is like setting up a temporary outdoor “gallery.”
Clarissa Rizal’s “little gallery” art booth at the Heard Museum Native Art Fair & Market, Phoenix, AZ – March 2015
Outside of winning ribbons and with the intent you will sell some work to help offset not only your costs but pay some of your bills for the next few months, one of the best parts (for me) about doing shows are the variety of people we meet from all walks of life and the invites to other shows and events, or invites to artist retreats or residencies, and not to mention the up-and-coming artists who look to you for guidance and advice. Generally speaking, I think people like to be needed; it gives us another sense of self-worth!
Recent glassblown pieces by Tlingit glassblower Preston Singletary at his annual art show held the same week as the Heard Art Market, at the Blue Rain Gallery in Scottsdale, AZ
Jeremy Frey won Best of Show for his magnificent basket, Heard Museum Juried Art Show, March 2015
Carver Israel Shotridge and Glassblower Preston Singletary
Sue Shotridge takes a photo of the award-winning bentwood box carved by her husband, Israel Shotridge — Heard Museum Juried Art Show and Market – March 2015
Clarissa Rizal and Sue Shotridge sport their cedar bark hats woven by Haida artist Merle Anderson – March 2015
Beadwork close-up by beadwork artist Marcus Amerman – (I am partial to the Chilkat emblem in dead center!); Heard Museum Juried Art Show & Market, March 2015
Marcus Amerman’s beaded “Smithsonian” piece at the Heard Museum Native Art Fair Juried Art Show, Phoenix, AZ – March 2015
Adrian Wall’s sculptures in blown glass and stone at the Heard Museum Native Art Fair & Market, Phoenix, AZ – March 2015
Feb 3, 2015 | Honoring Others, Poetry Alaskan, Relationship Overdrive |
Clarissa and her children, Ursala, Lily and Kahlil – July 2011
A couple of weeks ago, one of my apprentices asked me if I would write a bio of myself that explained when I began to do my art and why. She said she had to choose someone who had influenced her life to become an artist; she choose me. This was an assignment she needed to present at her art class. My initial response was “Gee, I inspired her to become an artist? But I don’t want to write about me, it is so boring to go back that far and talk about who, what where when and why…” However, I gave her my word that I would do this for her that night. So, I “set the stage” with low lighting and a cup of tea; I do this whenever I have to write about my personal life to help me focus with very little struggle – then with very little editing, the words just flowed from my head down through to the keyboard onto the computer screen. Here’s what came…
19 January 2015
Sitting in the direct heat of the fake firelight of the electric Amish heater in my studio, always bundled in my sheepskin coat, sheepskin boots and hat because the heating device is not large enough to heat this one room where I work and sleep, I am never quite warm in Winter, though it’s better than being outside right now with 0 degree starlit snow. I reflect upon my life as an artist and wonder where it all started and if living the life of a full-time artist, especially now in a place without running water, without sewer, and without sufficient heat, was and continues to be, worth it.
No matter what age, for the past 59 years, I’ve always been a child of creativity, with a drive that is endless. I exist on 6 hours sleep a night; from the time my eyes are awakened by the early dawn until I suddenly stagger to my bed 18 hours later; like I am going-going-going, then gone! It’s only in the past couple of years that I realized that not everyone is like this; where have I been?
38 years ago today, my first child Kahlil was born, named after Kahlil Gibran who wrote many inspiring books including The Prophet, Spirits Rebellious, and my favorite The Broken Wings. Spiritually-inclined at a very young age, anything written about Christ had to be read; any paintings, prints and photos of Jesus had to be studied, so natural it was to read all of Gibran’s works when I was a young adult. And even though in the western way of living having a child at 20 was considered young, it was natural for me to think it normal because our Tlingit culture had the wisdom to know children are a gift of God.
My parents guided me into the way they were conditioned to get a “real job” to secure a pension plan to retire in 40 years. This worked for a little while. From the age of 14 to 20 I had real jobs working as a librarian assistant, a home-health aid for the elderly, a clerk typist for the Governor and for the Bureau of Indian Affairs Division of Contracting, until of course Kahlil was born. Being a new mother was challenging; I was not a natural-born mother because I was such a tom-boy and it was next to impossible to stay indoors day in and day out while the baby napped, I had to keep up with the diaper changes and laundry, and he had to be nursed every 2 hours 24-7! Holy cow!
To keep my sanity I turned to gardening; it got me outdoors yet close to home! I turned to drawing, crocheting and sewing. While he took his naps, and directly after putting the entire household to bed each night, I’d stay awake ‘till at least midnight, creating; it was my therapy! During the raising of my three children, I made a living over the next decades in a variety of ways: besides designing and making Tlingit ceremonial regalia in button blanket, Chilkat and Ravenstail weavings, I was an entrepreneur before I knew what that meant. I made hats, I sewed custom-made clothing, created costumes for local theatre companies, owned a landscape gardening company, and was co-owner of an online newspaper. In the 70s and early 80s, I took up learning our traditional arts from some of the best artists of their time: carving, regalia-making, traditional song and dance, metal-smithing, basketry, Chilkat and Ravenstail weaving. Just before my children were grown up and gone I had created a name for myself as one of the few, if not the only, Tlingit women who has been a full-time artist working in all of the above mediums for nearly 40 years, all in the name of keeping my sanity and being a stay-at-home-self-employed-mother because I did what my mother recommended I do: stay home with my children.
In a few years I will be 65; do I see myself retiring soon? No way. I have no pension plan; I have no savings; and I surely do not have an inheritance. I cannot afford to retire. And what would I retire to!? Would I retire to taking vacations? What for?…vacations are boring; I don’t want to relax – relaxing is a lot of work! Would I retire to volunteering at something? I been there done that volunteering all my life with the house concerts I used to produce in my own home; with the children’s theatre I used to co-produce; with the art shows and classes I used to teach, just to name a few. Would I retire to what most people retire to? Watching TV from the couch. What for? Is that really fun, is it productive, is it creative, does it do anyone any good? The only results I see from watching TV is weight gain—too much potato chips!
Would I retire to what some of us retire to? Art and music.
Hello? I am already there; I have been creating art and playing music all my adult life. Does this mean I’ve been retired all my life? Hmmm…an interesting perspective.
It looks like I will continue doing what I have been doing for almost 40 years. Why change now? I’m in the groove.
My children now have families of their own. Each of my children and their spouses are self-employed artists. I have watched them struggle with making ends meet like the way their father and I made ends meet never knowing where our next paycheck would come from and if next month’s bills would get paid. I watch them live like I have, not afford brand new cars, not take any vacations, not have the latest styles of clothing, all the while living with tension about the ability to keep a roof over their heads, mouths fed, and clothing clean. However, there’s a sense of pride and awe that I feel when I see the fact that they stay at home with their children, making wholesome meals from scratch, tending to a flourishing garden, doing their “art” and their little kids “working” right alongside them: happy. These are values I did not realize were taught to them by my own example, someone who has passionate creativity, a drive that has always been driven, at the edge.
Kahlil is a professional film-maker/director who also teaches film a couple of days a week at the Institute of American Indian Arts; his wife Miki is a counselor at the Santa Fe Arts Academy; their 7-year-old Violet enjoys chess tournaments, sewing, ice-skating, gymnastics and basketball. Lily is an award-winning, professional storyteller/actress and also a Ravenstail/Chilkat weaver and teacher; her husband Ishmael is also a professional storyteller/actor, excellent writer who recently published his first book of poetry. They have four children who are being home-schooled. Ursala is an oil painter, block-print maker, graphic artist/web designer, and is president of a local Charter school she is starting; her husband Chris is a lead singer/songwriter in his band, a sculptor and a house painter. Their two daughters are obviously following their footsteps! My children and grandchildren live fully.
To my best of my ability, I live a life of integrity. I keep watch of what I do to see what I believe. My offspring and my work is love made visible. I follow my heart because my heart follows the source of creativity that inspires me and continues to drive me. I am old enough to look back upon my life and enjoy it a second time around. All my relations, my parents, my children and their children are proof of the legacy that I co-created and will leave. And when I leave, my conscious will be clear and free, knowing all that I loved and lived, was worth it.
Dec 9, 2014 | Adventures of Rear-Mirror Rissy, Showing Off |
Clarissa begins her presentation on the design and weaving of her latest Chilkat robe “Resilience” to the members of the Native American Arts Council at the Portland Art Museum
Many, many years ago, if you asked me to get in front of other people and talk about whatever, no matter what size the audience, and no matter if the speech would be in front of my family and relatives, I would freak out. No one nowadays, believes me when I tell them of my once-upon-a-time fear and shyness; — especially not those who were at any of my four presentations at the Portland Art Museum this past weekend of December 5th through the 8th, in Portland, Oregon.
Clarissa explains the meaning of every design element in the robe
Audience feedback tells me that I am a fantastic storyteller at heart, a natural-born comedian, an up-and-coming philanthropist, a content and yet passionate, visual artist. Interesting feedback…things I don’t really define as me though obviously those outside of me experience me on the contrary of what me believes about me. I guess I APPEAR to others to be those things I have yet to add to my list of how I define myself. My personal experience of myself is passion and inspiration. I feel passionate about my work; in fact I am inspired by my own work. My latest Chilkat robe which is now in the permanent collection of the Portland Art Museum was, and continues to be, an inspiration.
Clarissa tells another tale about the making of “Resilience”
With every art piece I design and create, no matter what medium, I strive to “out-do” the last piece of that particular medium. I compete with myself; I have experienced this is where true, fulfilling competition lay.
Thank you to all of you I met during my 4-day stay in Portland, especially the members of the Native American Arts Council at P.A.M. Thank you to Deana Dartt who worked hard on acquiring this robe for PAM’s permanent collection. And thank you to Beverly Terry who sponsored the making of the “Resilience” Chilkat robe!
You may see photos and read about the design description of my latest Chilkat robe “Resilience” at these blog entries:
http://www.clarissarizal.com/blogblog/resilience-has-new-home/
Dec 9, 2014 | Ravens & Eagles, Tlingit Culture Accentuated |
The Curator of Native American Art at the Portland Art Museum, Deana Dartt with her unique staff Mike Murawski, Alex Mar, Todd Clark – They stand next to Clarissa’s recently completed Chilkat robe “Resilience” now part of the permanent collection of Portland Art Museum – December 2014
Surprises come in all sizes and shapes, some pleasant and unpleasant. Learning how to keep the emotions in check is, I have discovered during my mid-life “learning curve”, the best way to stay off the emotional roller coaster. I used to respond fully at everything, whether positive or negative; I have come to realize that was a lot of energy to expend especially now as I am getting older, it is best for me to conserve that energy for myself, to myself, as I am needing to keep any energy I have if I want to continue doing what I do and all the things yet that I intend to do before I go. So,…the surprise of seeing the Chilkat weavings collection at the Portland Art Museum was indeed pleasant that will last the rest of my lifetime. Why?
The double-headed Raven “Two Door” Chilkat dance tunic and its wooden pattern board – the tunic was woven by my weaver teacher/mentor Jennie Thlunaut
Though there were a couple of other weavings and button blankets etc., I focused on these two tunics I show herein: one is a “Grizzly Bear” tunic woven by Mrs. Benson, the paternal aunt and weaving teacher to my teacher/mentor Jennie Thlunaut, and the other tunic, the double-headed Raven “Two Door” tunic was woven by Jennie Thlunaut. Mrs. Benson was born in the mid-1800s and died in the early 1900’s; Jennie was born in 1895 and died in 1986. Jennie’s mother died when Jennie was 12; her mother had just started weaving another robe. With the help of Jennie’s 4 paternal aunts, Jennie completed the Chilkat robe her mother started. Mrs. Benson was one of those aunties.
Full view of the double-headed Raven “Two Door” Chilkat dance tunic by Jennie Thlunaut
The Portland Art Museum has in its collection a “weavers lineage” most likely, unlike any other museum anywhere else in the world. How is that possible? The “Grizzly Bear” tunic was woven my Mrs. Benson, the “Two Door” tunic woven by Jennie Thlunaut, and now the “Resilience” Chilkat robe woven by me! There is no other museum or cultural institution that owns a Chilkat weaving by me, so in this case, P.A.M. owns a weaving lineage of three generations! — Now how cool is THAT!?
Jennie wove two of the double raven “Two Door” tunics. Long time ago, I was told the story of why she ended up weaving two identical tunics, but now I don’t remember. And like anything, if I don’t TELL the story enough times, either verbally or at least written down, the story gets lost, so let this be a lesson to us! However, the Pennsylvania Museum in Philadelphia owns the other identical tunic and I KNOW they have the story!
Full view of the double headed Raven “Two Door” tunic pattern board
This hand-painted pattern board hosts two designs; on one side is the “Two Door” double raven, on the other side is the “Grizzly Bear”. Of course, It be sensible that this large piece of wood, which is cut the width of the tree, be used efficiently!
Close up of a Chilkat tunic neckline and sleeve woven by Jennie Thlunaut’s auntie “Mrs. Benson”
This particular Chilkat weaving tunic woven by Mrs. Benson is my ALL TIME FAVORITE woven piece since I first laid eyes on Chilkat weavings nearly 40 years ago! The design, the workmanship, and the colors which have yet to fade terribly are all fabulous – such an inspiration. In fact, back in 2000 I did a limited edition of only 40 silkscreened prints using a photograph of this tunic as my inspiration to portray Jennie Thlunaut’s lineage of weavers titled “ShaaxSaaniKeek Weavers Circle.”
“Bear” wooden pattern board for the Chilkat tunic woven by “Mrs. Benson”
Traditionally, because men were the artists who carved and painted the form line art of the Northwest Coast, they were the ones who designed the Chilkat. The form line of Chilkat is “translated” from the traditional form line so that the weaver can more easily weave the shapes. So in order to create a successful Chilkat pattern, the designer must understand how the weaving process is done. Very few artists know how the weaving process is done; in fact, there are many of our people who have never seen the weaving process, and when they do, they are shocked at the intricate amount of work and the numerous hours to create even a small weaving. They then understand why the Chilkat weavings are “expensive.”
The “Bear” Chilkat tunic woven by Jennie Thlunaut’s auntie, Mrs. Benson – trimmed with sea otter fur on neckline, cuffs and the sides
Nov 30, 2014 | Adventures of Rear-Mirror Rissy, Showing Off, To Market To Market |
Clarissa paints the last of 12 masks she had for sale at the Alaska-Juneau Public Market
I remember when Peter Metcalfe, the producer/director of the Alaska-Juneau Public Market first started this venue for artists and craftspeople back in the early 80’s. The Public Market replaced the Juneau Arts Council’s “Holiday Fair and Market” started back in 1978 where I used to sell hand-made hats, hand-made kid’s clothing and hand-made masks. A few artists like John and Sharon Svenson (Haines), or Linda Fordham (Gustavus), came in from out of town.
Now, the Public Market has at least 250 local artists/crafts people from all over Southeast Alaska. Held during Thanksgiving Day weekend at the Centennial Hall in Juneau, Alaska, it feels like a “family reunion” of sorts because many of the artists only see one another once a year at this time.
Sue and Israel Shotridge hang out with Clarissa on “her side” of their shared booth at the Alaska-Juneau Public Market – November 28, 2014
1989 was my first year at the Juneau Public Market. I had a booth smack daeb in the middle of the lobby just outside the “great room” at Centennial Hall. I sold about 100 “dream catchers” traditionally made of branches and “sinew.” I think dream catchers made their debut in Juneau, Alaska (or maybe all of Southeast) that Thanksgiving Day weekend. They were an unknown thing back then. I learned how to make them in early ’89 from a Huron Native woman who was visiting the Institute of American Indian Arts in Santa Fe. I taught a couple of friends (one in Santa Fe and one in Juneau) how to make dream catchers of silver and crystal beads; I know the single mother supported herself and her two daughters for a number of years making the silver dream catcher earrings, pendants and hair barrettes.
Jessica Isturis models the mask she purchased from Clarissa
2010 was my second year at the Juneau Public Market. (My father had passed away a couple of years prior, so I moved in with Mom. After about 6 months of living with Mom, she wondered why I was still around, like when was I going home? I paused before I answered her with this statement: “I will go home whenever….uh,…you “go home.”)
For two months before the market, I painted one of my largest called “Frog Speaks” along with about 7 smaller paintings. I also printed my own fabric and made 10 dolls with “Chilkat warp” hair (leftover “thrums” trimmed from Chilkat robes I had made in the past). The night before the opening of the market I got cold feet! Like I have spent 2 months working away on these things and I have not a penny to my name and what makes me think that anyone is going to buy this stuff….!?!?!?!
I sold all the paintings, sold 7 of the 10 dolls (the remaining 3 I gave to each of my children’s first born), and I sold a few prints! I made enough income to pay 5 months’ bills!
Nancy Barnes models the mask she purchased from Clarissa during the market
2014 was my third year at the Juneau Public Market. I had on display, my “Chilkat Child” woven ensemble and my daughter Lily’s “Little Watchman” Ravenstail ensemble, along with my tall charcoal on canvas “Totemic Theories.” I sold a few of my button blanket greeting cards, my hand-painted masks, limited edition prints, beaded hats, paper feathers, the children’s book I co-illustrated, but not one item of the Chilkat/Ravenstail spinning and weaving supplies sold. I now know that the Public Market is NOT the right venue for selling those supplies!
A couple of hand-painted masks finish drying on a piece of plastic
My oldest grandchild, Elizabeth Hope (I affectionately call her “SikiKwaan”), helped me sew spinning pads for those weavers who don’t mind spinning their own warp. She is shown here sewing on my 1974 “Genie” Singer sewing machine my mother bought me when I graduated from high school. This machine has “seen it all…!”
Grand-daughter “Sikikwaan” helps Grandma Rissy sew the spinning pads for sale at the Alaska-Juneau Public Market
The Shotridges and I shared this booth at the Juneau Public Market this year. It was quite cozy and full…! Between us, we had a variety of things for sale. You would think that we looked like we were having fun!—Little do people know that I was a bitch while setting up the booth that first morning! For three months prior, I had worked my fingers to the bone preparing a variety of items for sale and I was plum exhausted by the time we set up this cozy “gallery” that I didn’t FEEL like setting up, but who else is going to do it!?
So you folks out there who wear rosy-colored glasses thinking that artists “have a grand life” – go think again! Sure we set our own hours, HOWEVER, most of us work around the clock; we never leave our work! And do we really want to? Do we really want to leave our work? Hmmm…very good question! I have to ponder that one.
Sue Shotridge and Clarissa Rizal on “their side” of the shared booth at the Alaska-Juneau Public Market
Sue and I are like two peas in a pod. I don’t know if I have ever met anyone else who reminds me of me when it comes to how we operate. High energy, we are consistently on the go. And somehow we don’t “bump into one another!” Woe be to us if THAT ever happened! We’d blow one another out of the water!
Clarissa finishes painting masks and trimming out the child-size dance apron with .22 bullet shells in Clarissa’s “borrowed” studio overlooking a typical Alaskan waterfront home…!
Nov 14, 2014 | Adventures of Rear-Mirror Rissy, Latest Art Projects, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Charcoal by Clarissa Rizal
Here’s my Winter Schedule for upcoming Art Markets, presentations, classes and demonstrations. If you are in any of these locations, come by and visit; I’d love to see you!
1) One-day Chilkat/Ravenstail Weaving Class, Juneau, Alaska, Sunday November 23rd, 10am-4pm with potluck lunch — this class is for experienced weavers who have a project on their loom and need assistance, comraderie, support and a feast! Class is limited to just 10. The Northwest Coast Weavers’ Supply will have weaving/spinning items available for sale BEFORE the Public Market sales; so you will have the privilege to be the first to purchase your supplies for your next weaving project — Interested? Give me a call at 970-903-8386 or email me at: clarissa@www.clarissarizal.com
2) Alaska-Juneau Public Market, Thanksgiving weekend Friday, Saturday, & Sunday, November 28-30th, Booth #P-15 in the main room of Centennial Hall on Willoughby Avenue in Juneau, Alaska – Click here to see the list of some of the items I will have available for sale
3) Portland Art Museum, Portland, Oregon Presentation of “The Making of Resilience Chilkat Robe”, Friday, December 5th; I will also have Chilkat-related items available for sale AND I will have two woven ensembles on display only during this presentation
4) Evergreen Longhouse, Olympia, WA, — The Holiday Market is open Friday and Saturday, December 12 & 13; I will only be selling on Saturday! — Click here to see a list of some of the items I will have for sale.
5) “Raven’s Nest” Gallery (owned by Sue and Israel Shotridge), Vashon Island, WA — I will be demonstrating Chilkat weaving on a child-size robe; I will also have on display two child-size woven ensembles, “Little Watchman” a 4-piece Ravenstail outfit woven by my daughter Lily Hope, and my 6-pience ensemble “Chilkat Child.” I will also have items for sale as well; click list here to see list of some items.
6) Chilkat Weaving Class, Corvallis, OR – December 15-19th; for experienced weavers with a project on their loom. — This class is currently full.
7) Heard Museum Juried Indian Art Market & Fair, Phoenix, AZ – March 7-9, 2015
Nov 10, 2014 | Adventures of Rear-Mirror Rissy, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Many, many braids in weaving “Resilience” Chilkat robe by Clarissa Rizal – 2014
HEADS UP! For those of you living in the Portland, Oregon area: I will be doing a public presentation on Chilkat weaving and a Power Point Presentation of weaving my latest Chilkat robe “Resilience” at the Portland Art Museum on Friday evening, December 5, 2014 at 5:30pm. Guitarist extraordinaire Dan Shanks, will be performing the live soundtrack. — If you are in the area, come on by! Two woven Child-size ensembles, one in Ravenstail and the other in Chilkat, be on display only during this presentation. Also, I will have a few things available for sale: my Chilkat Weaving Handbook, greeting cards, Chilkat prints, etc. See you soon!
Nov 4, 2014 | Class Act, Tlingit Culture Accentuated, Tools-of-the-Trade |
Washed Chilkat warp is pulled tight and set out to dry
Here’s a trick-of-the-trade to create smoother, more even Chilkat or Ravenstail warp with no give: after you wash your warp, pull tight as you wrap the warp around the back of a chair — let dry thoroughly, then groom.
Why do you want a smother, move even warp with no give? When you are weaving your weft yarns over this warp, you will notice a less bumpy, more evenly-laid fabric.
Periodically I post various tricks-of-the-trade in regards to spinning, weaving, designing or anything else I may think of to post here on my blog for all you wonderful artists/craftspeople out there in the world!–for more tricks, check out “Tools-of-the-Trade in the column to the right…
