"Learning Through Teaching" by artist Stacey Williams
An educational and interactive exhibit encouraging all ages to learn about the Alaska Native weaving practices of the Southeast.
Stacey has compiled an exhibit that will take you through a journey of her self-discovery. She has written the words below with the intention of defining herself as a student and a teacher. She acknowledges her mentors, teachers, and students, and she recognizes the role they all play together as culture bearers. Stacey invites everyone; people of all ages to embrace their role as students and teachers.
Stacey Williams
This exhibit is brought to you by nine years of learning, seven years of teaching, countless hours of practice, and a wish to bring more people to the love of Northwest Coast Art. Though I am nowhere near being a master at these art forms, it is a responsibility undertaken at the moment of learning to make sure to teach it to others. My teachers have told me stories of when they were still learning, at a time when you could count the number of woven hats at Celebration in Juneau, Alaska. Thankfully, those times when they were learning were followed by periods of teaching and a revival of the art forms. Now, we look to these teachers to continue their lessons, reshape the classroom norms, and train the next group of teachers.
Throughout my years I have been surrounded by wondrous art forms, a revival of culture, and important individuals who have impressed upon me the importance of the continuance of Our Way of Life. I call this collection "Learning Through Teaching". It is an exhibit that explains my own experiences having learned the displayed art forms while teaching them to others.
As the artist, I would like to gratefully acknowledge that this exhibit is made possible through the generous stewardship of this land by the Saanyaa Ḵwáan and Taantʼa Ḵwáan people. Since time immemorial this area has been looked over by the strong people of these tribes and I am grateful for their efforts. Welcome! -Stacey Williams
Learning Through Teaching
To me, this means that I am fulfilling a responsibility to my fellow artists, to my students, and to those who wove before me. As I learn different skills and techniques, I teach them to others in order to reinforce the lesson. This raises questions from students that then cause me to rethink how to explain it, and even consider a different way to learn it. I learn as I teach, or rather, through the teaching, I am able to learn.
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Tree of Life - Stacey Williams
This close-up of red cedar bark comes to us from the Tree of Life. Without the red cedar, in particular, the people of this land would have been ill-equipped to handle life on the coast. With the help of bark, clothing was created, baskets for carrying items, and all-purpose ropes were made. With the help of the inner wood canoes were carved, boxes were bent into shape, and houses were reinforced. Within the shade of the trees grow other necessary and utilized plants, such as Devils Club, grasses, and ferns.
8" x 10", framed $75
Purchase Framed Photograph Here
image credit Stacey Williams
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Sap - Stacey Williams
The lines of sap in the grain of bark are used as a guideline of where to split the cedar.
If you can see the sap, you know where to split the bark.11” X 14”, framed - $125
Purchase Framed Photograph Here
image credit Stacey Williams
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Corners - Stacey Williams
The start of corners is just as difficult as ending them. It’s a challenge that I accept as a weaver. A future goal of mine is to weave larger items, but sometimes you have to start small. This is a photo close-up of a five-by-five-inch square.
8" x 10", framed - NFS
image credit Stacey Williams
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Almost Done - Stacey Williams
This is the second attempt at a Chilkat Side that was started in a class at the Totem Heritage Center. The first side was mostly finished at the end of the course. I continued instruction with Dorica outside of classes and was able to make a second side. There was an immense amount of homework involved and songs sung about ‘needle-ing it in’ with the end strands. At one point I counted more than one-hundred wefts and braids strands that needed to be tracked.
11" X 14", framed - NFS
image credit Stacey Williams
Classroom Kit
Displayed are strips of red and yellow cedar to begin a basket, the strips in place that a student would plait and then twine, a basket bottom ready to weave up the side, and two completed projects. This is typical of what the process looks like for beginner students at an elementary level, and for adults interested in knowing if this craft is something they would consider pursuing further. The piece made by an adult was completed in an afternoon class by Gara Williams, with all material prepared to start.
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Red cedar strips:
Image credit Brooke Ratzat
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Completed base:
Image credit Brooke Ratzat
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Basket base:
Image credit Brooke Ratzat
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Elementary example:
Image credit Brooke Ratzat
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Adult example:
Image credit Brooke Ratzat
This is a collection of plaques that my father has kept for many years. He, my siblings, and I are all proud graduates of Ketchikan High School, where we all did our first carvings under the guidance of the Native Arts instructor, Barbara Pierce. She taught my siblings and me the fundamentals of Northwest Coast Design throughout our years at Kayhi. I have used these lessons for many years and also share them with my students and peers. Fundamentals of design are the most important lessons to master.
red and yellow cedar plaques dating from 1980s - 2016
Teachers
I have had the honor and privilege of learning under many different educators, in a range of specialties. I’d love to name them all, but there are a few that deserve special recognition. In order of appearance in my life, here are a few ways that teachers and educators have had an impact.
In 4th grade, I had a classroom teacher who was dedicated to her students having a well-rounded learning experience. This included, and was not limited to, having culture bearers come into the classroom to teach their own lessons. I remember learning about summer fish camps, traditional songs, and essential cultural values. This teacher is now a dedicated reading specialist and has the title of Dr. Valerie Brooks. Val, thank you for your impact. I know you understand the significance of teaching our youth.
When I moved into Ketchikan High School, I met Barbara Pierce. She taught me valuable and fundamental lessons about Northwest Coast Art, including leather sewing, carving, design, and beadwork. I jokingly say that I wasn’t in her roster every year, but it felt like I was always around her class. Other teachers took note of my passion for the arts and allowed me to work simultaneously on art and the work of their classes where appropriate. Doing beadwork gave me the focus to listen to lectures.
Later on, in high school I registered for a spring break weaving class for youth at the Totem Heritage Center taught by Holly Churchill-Burns. There I found an aptitude for weaving. I didn’t know it at the time, but I would return to the museum several years later to continue my learning. I worked at the museum as a program assistant starting in 2014 and ending in 2020, spending a lot of time with Holly. She would share essential lessons with me and others, and the moments spent in her classes have been a precious source of knowledge. I am honored to consider myself one of her students.
While at the Totem Heritage Center, I met many instructors. All were dedicated to sharing the arts in a thoughtful and passionate way. One whose passion cannot be disputed is Diane Douglas-Willard. She shared secrets she had discovered, encouraged every move I made as a student of weaving and was a beacon of hope for the arts to continue on to every student she met. The detail and attention she had for every piece was astounding.
Another culture bearer that I have had a wonderful time learning from is Gloria Burns. She was my first harvesting instructor and has been a supportive friend for many years. Her diligent work on language, harvesting techniques, and her adoration for her culture has been inspirational throughout my own journey. I hope to continue learning from her in any capacity she is willing to teach, but most especially in the fields of weaving.
Teresa Varnell is one of the most dedicated educators I have had the pleasure of working with. I first met her while at the Totem Heritage Center giving classroom tours. Her passion for educating students is unparalleled and inspiring. In recent years, we have collaborated on lessons for youth through her current position as cultural coordinator for Ketchikan Gateway Borough School District. It is important to teach what is learned so that the next generations can learn about the cultures of Southeast Alaska, and Teresa is an enthusiastic teacher as well as a supportive mentor in this journey.
The traditional Alaska Native Northwest Coast Arts will survive and thrive. In my case, I will continue to teach and to learn thanks to the teachers set in my path and the encouragement from everyone who surrounds me.
Yakutat
In the spring of 2019, I went on a trip with my master mentor Holly Churchill. As her apprentice, I was to participate in a number of activities, go harvesting with intention, split roots until my eyes were crossed, and then towards the end teach what I had learned. It was one of the most enlightening and inspiring trips I’ve been on.
We rose in the early morning, ate a light breakfast, and went to the forest. It took a while to drive, and longer to find just the right spot. Before 8 a.m. we found a grove of spruce trees and got right to work. Carefully peeling back the moss-covered layer of dirt we exposed the most wonderful roots. Digging in silence for quite some time, listening only to our own rhythmic breathing along with the crash of the waves on the beach, we gathered enough roots to provide for the children’s program. Later that week, we had a group of youthful weavers who had participated in the festivities of the Yakutat Tern Festival. They were eager to learn where the materials came from. Holly pointed to me to teach what I had learned just a few days earlier. I was confident in my teacher, which leads to confidence in oneself. I knew she would not lead me astray, and so with all honesty of being a student myself, I carefully and swiftly delivered instructions to the class. Very quickly these elementary students got to work, and were following root paths more than fifteen feet long! The pride felt by a teacher is summed up in those learning moments. When the student surpasses the teacher, they both have done valiant work.
Learning through teaching is the most essential element of the continuation of the art form.
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late 2000’s
red and yellow cedar
3 ½” X 2 ¾”Cedar Basket - Austin Williams, under instruction by Holly Churchill
This basket was created by Austin Williams in a Spring Break weaving course at the Totem Heritage Center, with Holly Churchill. Austin started weaving early in his life, and continues, he is an immense support for students.
NFS
image credit Brooke Ratzat
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1st Basket - Stacey Williams
My first basket was not my first project. I had woven a hat with the help of Holly Churchill in high school at a weaving class for youth. I felt a natural connection with the process, but it was several years before I would return to her classroom to weave a basket and fall in love with weaving.
Weaving was not my first love. As a young girl I sat at the table with aunties and was taught beadwork. I patiently laid bead after bead until I had made pillows, pouches, and jewelry under the guidance of teacher Barbara Pierce in high school art class.
Baskets and beading were not my only interests. I tried my hand at carving and was successful at the beginner levels. I carved reliefs into plaques, made bowls and paddles, and was even pretty good with an adze. My grandfather, the late Edwin C. DeWitt was a wonderful carver, and the smell of chipped yellow and red cedar is one of my earliest memories. My family has been involved in the arts in various capacities. Both of my siblings are talented when it comes to weaving.
The first items you make should be treasured. They show your growth, passion, and sometimes frustration. In the end, it is an accomplishment embedded into the very grain of your art.NFS
image credit Brooke Ratzat
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2015
red and yellow cedar bark, canary grass, minature bottle
Basket: ¾” X ¾”, Bottle: ¾” X 1 ¼”Miniature Basket - Stacey Williams
Tiny baskets are fun and intricate. This was my second basket.. It uses bark and grass to achieve a small design.
NFS
image credit Brooke Ratzat
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Miniature Basket - Stacey Williams
Made with spruce roots during my artist residency at Sheldon Jackson Museum in 2021. It was fun to show visitors how small items can be created, and that it can be a learning experience as well as a challenge.
NFS
image credit Brooke Ratzat
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Red Rattle-Top Basket - Stacey Williams
This basket is a copy of an early commission. The individual commissioning the piece wanted something made by a student and representative of the area. I was learning about rattle-top baskets at the time and decided that was the way to go. I made this basket after I sent off the commission so that I would always remember it.
NFS
Image credit Brooke Ratzat
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2016
red and yellow cedar, pink dye
2 ½” X 1 ¾”Small Sample Basket - Stacey Williams under instruction by Holly Churchill
A basket that was made on open-craft nights and with the help of Holly Churchill. I was able to further improve my techniques with the assistance of an instructor while maintaining a level of independence.
NFSImage credit Brooke Ratzat
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Woven Vase - Stacey Williams
This piece is part of my own private collection and was really fun. While it was woven several years ago, it made its first appearance at my wedding and is now on display proudly, as an example of my progress as a weaver.
NFS
Image credit Brooke Ratzat
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Red Cedar Basket - Stacey Williams
This basket was supposed to go into a collection, but the very last warp broke upon being put in place. It was still a good basket, but I couldn’t let it go simply because it wasn’t up to my own standard. It is all red cedar, with black dye used to make a wild-strawberry pattern and a potlatch ring.
NFSImage credit Brooke Ratzat
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Quarantine Basket - Stacey Williams
This basket was purely a stress reliever. The movement of weaving was a comfort during the early days of the pandemic. I didn’t have access to all my materials and opted for what I could find in the craft aisle at the store. It took much longer than a traditional basket but was also a welcome challenge.
NFS
image credit Brooke Ratzat
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2018
sea otter, pigskin leather, stuffing
10 ½” X 10 ½” X 5 ½”Sea Otter Pillow - Stacey Williams, under instruction by Louise Kadinger
Classes are available in many places and hosted by many teachers. Instructor Louise Kadinger made me love leather sewing in a way I didn’t know was possible. The softness of the fur, the smooth stitching on leather, the prompt satisfaction upon completion- all reasons to keep sewing. This class was hosted by Ketchikan Indian Community and funded through Sealaska Heritage Institute. I have made many pillows since that class. I’ve learned a lot about the restrictions on access to sea otters and the limitations on who can work with this resource, as well as taught students the importance of continuing exploration and instruction. One student took these lessons and sought out teachers to not only learn how to work with the material, but to start at the beginning with harvesting and processing.
NFSImage credit Brooke Ratzat
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2016
red and yellow cedar, green dye
2” X 2 ¼”Green Basket - Stacey Williams under instruction of Holly Churchill and Diane Douglass-Willard
A basket that was made on open-craft nights and with the help of both Holly and Diane. It’s a small sampler basket, made to instruct a student on various types of weaves.
NFSimage credit Brooke Ratzat
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Spruce Root Sample Start - Stacey Williams
This photo shows the start of a weaving I did at the onset of the current pandemic. I was without a teacher, without a workshop, without a classroom of students to teach and learn from. I was still enthralled with weaving and made my best attempt at the start of a basket. Some of my warps were irregular, some of my wefts were too thick. When I went back to class in the fall of 2021, my instructor Holly Churchill advised me to take it all out and re-prep my material. And so, I did. The material in the piece ended up in the Miniature Potlatch Hat also on display.
When your mentor advises you, I suggest that you listen well, and with respect.$75
image credit Stacey Williams
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Cedar Hat - Stacey Williams
This hat is something I tried myself before I knew about cutting corners with my weave to make more circular items. It was a lot of fun, but also a challenge. The bark I was using had been stored improperly but was a kind gift by someone who hoped I could revive some of the pieces. I was happy to try, and now it serves as a reminder to me of all I’ve learned over the years. I was informed by my teacher that my weave was similar to that of one of my relatives during this project.
NFSImage credit Brooke Ratzat
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I’m Spiraling - Stacey Williams
Spiraling a basket is difficult, especially while executing it on the base. This basket is located at Crazy Wolf Studios and was a really fun piece that came about as a result of my residencies in the fall of 2021.
SOLDimage credit Stacey Williams
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Spiral Sun Catcher - Stacey Williams
This piece was inspired by one of my teachers. Holly Churchill taught me how to make a basket start with an ending, especially as practice for those getting started in basketry or those looking to learn multiple endings in a single class. It can then be used as a placemat/coaster on a table,
or a strand can be added to have it hang in a window.
This was woven in a Tlingit style twine, spiraling open as it was expanded.
$100image credit Brooke Ratzat
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Twill - Stacey Williams
My recent attempt at a larger scale of plaiting. At first, I thought it would be a table mat, but decided with the extra lengths of warp that I would make it a tray-like basket. The base and sides are a “Twill” plaiting technique, moving weft over two warps and under two warps, and alternating rows to make a pattern. Completed with a combination of Haida and Tlingit weaving techniques.
$1400 -
2020
photograph of red cedar bark plaiting
11” X 14”, framedPlaited Mat, close-up of Green Basket - Stacey and Gara Williams
Just before the pandemic went into full effect, I worked on this mat in a collaborative effort to cheer up a teacher. Susan Stone is now the proud owner of this mat, encased in a shadow box, with well-wishes from numerous students.
$125Purchase framed Photograph Here
image credit Stacey Williams
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2021
red and yellow cedar bark, 100% wool, mother-of-pearl buttons, abalone buttons
Hat: 5” X 7 ½”, Doll with Blanket: 14” X 9”Baby Doll Hat and Blanket - Stacey and Gara Williams
Baby-sized hats come with their own challenge. I have not come across the right size of hat form to measure the pieces of cedar, perhaps because little ones grow so fast. I decided to make a hat using a small child hat form for measure and decided that I would shape the hat as I went. It worked out well, and making pieces off the form is more efficient.
NFSImage credit Brooke Ratzat
My Students
Houghtaling Elementary
I have spent more time at Houghtaling Elementary throughout my years than any other school on the island. It was such an honor and privilege to return to my former school and learn with the next generation of students. My first return was to a 4th grade classroom. We did a rope-making activity with red cedar bark. The students in that class learned about oxidizing cedar with metal, how to spin the material into rope, and a bit about how it is processed. Later that evening, I went to an opening at the Main Street Gallery. One of the students was present, looking curiously at one of the pieces hanging on the wall.
I asked him, “Do you know what that is?”
He replied, “Is that cedar rope? Like what we learned today?”
After I confirmed that yes, he knows how to do that too, the smile on his face could not be contained. He ran to his mom, tugging on her sleeve to say “Guess what! I learned how to do that today!” This is why we do it. This is why we teach. No matter how big, no matter how small, this is why we teach-- so that those connections can be made.
Shania Ray Murphy
At the end of the school year a few years ago, a group of students was led out to the wilderness to learn about the area, the culture, and subsistence opportunities. I was a chaperone/cultural bearer for the annual Tribal Scholars Expedition.
One particular student decided it was time to go above and beyond on this journey. This student participated in tasks of such variety! From manning the shrimp boat to fishing for halibut, going kayaking, hiking, gathering spruce roots, and harvesting bark, there was nothing that would slow this student down. Instead of being instructed to do these activities, she volunteered time and time again. While they were learning about roots, I got to know this student and the struggles she is faced with on a daily basis. Despite physical disabilities, she showed up.
Preparing roots is hard work. Those dedicated to the craft know that if you aren’t careful with your time you can end up with cramped hands, bloodied fingers, and perhaps even ruining a near-priceless project. Preparing cedar bark is hard work. It should not be done on a whim. There are those that feel a connection to the forest and understand the gravity of the situation when you harvest the bark. The work does not end there. After harvest, you immediately have to process. This can take several hours or all evening. All this, before you can use what was prepared and make something amazing
I’d like to take a moment to acknowledge that this student, Shania Rae Murphy, listened intently to my words of caution about harvesting and weaving. She heard what I had to say and decided for herself that this was something she at the very least had to try.
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Shania Rae Murphy
Photo Left: Student Shania harvesting bark off of a red cedar tree.
Photo Center: Student Shania in a forest of Devil’s Club.
Photo Right: Dinner on the deck, student Shania with a harvest of Halibut.image credit Stacey Williams
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Shania Rae Murphy
Photo Left: Student Shania digging spruce roots.
Photo Left Center: Student Shania holding her prepared red cedar.
Photo Right Center: Student Shania on the boat, on the way to harvest. -
Berry Picker - Aliyah Glover
This basket was created from start to finish in a series of homeschool classes that I taught with the Glover Family. It is a result of two years of instruction, a gathering of personal materials, and some dedicated afternoons.
NFSImage credit Brooke Ratzat
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Family Hat - Aliyah and Maxton Glover
I met the members of the Glover family more than 5 years ago. Melina Glover reached out to see if there was anybody around that was able to teach her two eldest children (intermediate elementary at the time) about the history of the area we live in, the culture that surrounds us, and mainly, art. I thought it would be a great opportunity to try to reinforce the lessons I had been trying to learn. So, with all honesty of still being a student myself, I decided that I would start some lower-level lessons. They quickly evolved into a weekly event, and several years later these students, though pursuing other interests, have a deep appreciation and understanding of the work that they did. I recently interviewed these students as part of the Virtual Artist-in-Residency for Sealaska Heritage Institute, and I can’t say enough about how proud I am of them and our time together. We discovered ways to work together that I have applied in many of the classes I teach and I am so thankful to have been part of their journey.
On display: a hat completed by both and adored by all.
NFSImage credit Brooke Ratzat
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Color Challenge - Maxton Glover
This basket was created from start to finish in a series of homeschool classes that I taught with the Glover Family. It is a result of two years of instruction, the gathering of personal materials, and some dedicated afternoons.
NFSImage credit Brooke Ratzat
Commissions
I have made quite a few pieces to fulfill commissions. Over the years I have created hats, baskets, covered items, even a few pillows. In this particular discipline, it is more effective to work with someone who wants the piece before it is made, rather than try to find it a happy home after it's done. This way, you can work out any changes that are wished and make the piece that is wanted. Truly, what works is having a happy home for baskets and pieces to be cared for, and room for artists to make what is inspiring as well.
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Large Gathering Basket with Handles - Stacey Williams
Commissioned for a private collection. The proposal was for a large gathering basket using locally sourced materials with a five-gallon bucket as a measuring form. Handles are removable and replaceable. During this project, I received immense support from my friends and family and was able to share regular show-and-tells with them. This permitted explaining and reinforcing the sequenced lessons students/weavers would need (or benefit from) in order to accomplish this basket.
NFS
Image credit Brooke Ratzat
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Strongman or Warriors Ropes, 2020
red cedar
16 ½” X 11” and 10” X 20”Ravenstail Pouch, 2020
Merino wool and Merino yarn, sea otter, boiled yellow cedarWedding Pieces - Stacey Williams
Strongman or Warriors Ropes - Made using strong red cedar bark for the bulk of the rope, and finer pieces for the rope that ties them together. Worn during moments of importance, one was gifted to my brother and one to my father during my wedding. The amount of cedar that goes into these pieces is astounding.
It took three full days of preparation and two days of construction.Ravenstail Pouch - This piece also made its first appearance at my wedding. A pouch made from the instructions from Cheryl Samuels book, “A Course in Ravenstail.” I was able to follow along with the booklet and video series. Design is a variation of treasure within a box in ‘Box of Daylight,’ a story that tells of earlier times on the Northwest Coast when there was no light in the world, and how Raven changed that forever.
NFS
Image credit Brooke Ratzat
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2017
red and yellow cedar bark
7 ½” X 11 1/2”Cedar Hat - Stacey Williams, under instruction by Holly Churchill
This hat was worked outside of classes, but still under the instruction of Holly Churchill.
It took several months to complete but was a labor of love. I learned about double warping or double walling my pieces, basic and advanced design. I also learned about implementing a woven headband in the foundation of the hat, instead of a sewn-in one. I have carried these lessons into my homeschool art classes, into private lessons, and other students I sit with in class.
NFSImage credit Brooke Ratzat
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2021
red and yellow cedar, canary grass, artificial dye
3 ½” X 7 ½”Spoon Basket - Stacey Williams under instruction by Holly Churchill
A project that resulted from a class taken at the Totem Heritage Center with instructor Holly Churchill. This basket was for Mixed-Level Design for Northwest Coast Basketry, and I learned valuable lessons about making graphs, measuring lengths, and applying them to my projects.
I walked away from that course with a much deeper understanding and a few more projects lined up. The piece itself is a horn spoon basket that incorporates more than 12 different techniques and designs. Among the things learned were how to stop and start rows, and the technique of using a dyed background for false embroidery sections. In the middle of that project, I fell and injured my wrist. With the instructor's help and the support of fellow students, I persevered and completed the project, despite physical injury slowing me down.
NFSImage credit Brooke Ratzat
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2021
spruce roots, yellow cedar, sinew
4 ½” X 4 ½”Miniature Potlatch Ring Hat - Stacey Williams under instruction by Holly Churchill
This piece was also created in a class for intermediate and advanced students following the design course. Working with spruce roots is incredibly hard on your fingers, wrists, shoulders, and eyes. I made it through though, and now have a working knowledge of how to assemble potlatch rings for hats, and I can share this with future students.
NFSImage credit Brooke Ratzat
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Small Gathering Basket - Stacey Williams
Commissioned for a private collection. The proposal was for a medium-sized gathering basket using locally sourced materials. The finished piece is the size of a berry basket. This basket is shared with my students as an example of a full red cedar basket. It comes with its own challenges and a need for finely prepared material.
NFSImage credit Brooke Ratzat
Peers and Support
First, Josephine Guthrie, a weaver whose passion is unrivaled. She has been a dedicated student under Holly Churchill, Delores Churchill, Evelyn Vanderhoop, Dorica Jackson, Diane Douglass Willard, Kathryn Rousso, Debbie McLavey, her mother Irene and a few master carvers. She has proven herself to be an avid learner. I have watched her grow, from clumsy fingers to a swift and graceful weaver. I look forward to seeing what she does with her art
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2016
red and yellow cedar
12” X 5”Child-sized Cedar Hat - Josephine Guthrie under instruction by Holly Churchill
Made using materials provided by the instructor while first starting out. Students are encouraged to use prepared materials while deciding if weaving is a pursuit they will follow through with, and then they can opt into gathering their own.
NFS
Image credit Brooke Ratzat
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2019
Merino wool, Merino yarn, sea otter
7 ½” X 7 ½” X 3”
whiteDouble Sided Ravenstail Pouch - Josephine Guthrie under instruction by Kathryn Rousso
Made as part of a class at Ketchikan Indian Community. Both sides are completed as one long piece, half woven in reverse, folded together, and sewn into a bag.
NFSImage credit Brooke Ratzat
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2019
Merino wool, Merino yarn, sea otter
7 ½” X 7 ½” X 3”
blackDouble Sided Ravenstail Pouch - Josephine Guthrie under instruction by Kathryn Rousso
Made as part of a class at Ketchikan Indian Community. Both sides are completed as one long piece, half woven in reverse, folded together, and sewn into a bag.
NFSImage credit Brooke Ratzat
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2018
red and yellow cedar
15 ½” X 7 ½”Cedar Hat - Josephine Guthrie, under instruction by Holly Churchill
Created for the purpose of paddling to ‘Celebration’ in Juneau, AK. Made using artist-prepared materials.
NFSImage credit Brooke Ratzat
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2021
Red and Yellow cedar, canary grass, artificial dye
3 ½” X 7 ½”Spoon Basket - Josephine Guthrie - under instruction by Holly Churchill
A project that resulted from a class taken at the Totem Heritage Center with instructor Holly Churchill. This basket was for Mixed-Level Design for Northwest Coast Basketry, Josephine Gutherie completed it for this exhibit.
NFSImage credit Brooke Ratzat
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Plaited Mat - Josephine Guthrie
Skip-stitch design, moving weft over and under warp two at a time.
NFS
Image credit Brooke Ratzat
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2018
spruce roots
4 ½” X 3 ½”Miniature Spruce Root Hat - Josephine Guthrie, under instruction by Delores Churchill
Made using materials provided by instructor Holly while first starting out. This was a new type of material for weaving for this artist, and instructor Delores was generous with her knowledge of techniques.
NFSImage credit Brooke Ratzat
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Woven-covered Bottle - Josephine Guthrie
Made using the artist’s own prepared materials. Covering items can be a challenge, and here it was met with grace.
NFSImage credit Brooke Ratzat
Next, Justin Cristobal, a designer and carver that has studied under Nathan Jackson, Steve Brown, David Robert Boxley, and many others. I have been impressed and in awe of his process for many years and asked him to submit a piece to this exhibit that represented our time as students together. He says, “My teachers taught me the fundamentals in Formline, but now my teachers are artifacts, using what I learned to figure out how they put together designs using those fundamentals.”
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Adjustment - Justin Cristobal
Artists Description: “A rendition of asymmetrical Formline design.”
A piece shared for display in this exhibit. The collaboration of artists is essential to learning, teaching, and passing on to the next generations.
NFSimage credit Justin Cristobol
Last but certainly not least, Mangyepsa Gyipaayg - Kandi McGilton, Ts’msyen artist. She is a self-taught beader, a student under Delores and Holly Churchill, and an enthusiastic language pupil. Through regular messages, photos back and forth, 3 a.m. questions, and all the encouragement that can fit between two artists, we have achieved a level of support for one another that shows our dedication. Whether I am working on something for a private collection, or something to be displayed publicly, this artist is my go-to for an honest and supportive conversation.
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Bee Octopus Bag - Mangyepsa Gyipaayg - Kandi McGilton
“Bee Octopus Bag” by artist Mangyepsa Gyipaayg of Metlakatla, Alaska.
Artist description: "The happiest thing I've created is my Bee Octopus Bag. It was a piece that haunted my dreams and was one of my first ideas when I started creating, so being able to bring that devilish bag to life brought me pure joy."
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Interview with Mangyepsa Gyipaayg - Kandi McGilton
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Baskets and weavings - Mangyepsa Gyipaayg - Kandi McGilton
Photo Top: An assortment of weavings by artist Mangyepsa Gyipaayg of Metlakatla, Alaska.
Photo Bottom: A beautiful basket by artist Mangyepsa Gyipaayg of Metlakatla, Alaska.
Stacey Williams
Chilkat Sample, 2019
Merino wool, boiled yellow cedar
This sample was made as part of a class at the Totem Heritage Center. Dorica Jackson taught a group of students including myself using this design. She was very patient while demonstrating the finer points of the fundamentals. I learned about turning corners, weaving braids, and using joints.
41/2” X 6” with 2” fringe
NFS
Current Mentor
Dorica Jackson is an incredible and supportive friend, as well as a mentor. I have been studying Chilkat weaving with her for several years. I watched as she wove together a beautiful robe, now displayed at Ketchikan Museums Totem Heritage Center. I carefully observed her swift movements and examined each section with the intention that one day I will be able to also create finer pieces. We started small, with learning how to spin the warp of boiled yellow cedar, and finally gathering the wool and the carding of debris. The piece is my first Chilkat item, and I was able to spin all of the twenty-five yards for it myself. I was so proud to take it off the loom, and even more, honored that my mentor believed I could. Dorica, thank you for your support and confidence in me. I hope to continue learning with you for a long time.
60 ' yellow cedar tree, recently harvested.
The Trees of the Tongass National Rainforest
The trees in the forest are highly respected by the indigenous peoples of this area. The western red and yellow cedars along with spruce, hemlock, and alder trees are a treasured resource. They are carefully harvested in order to gain weaving material, rope material, and natural dyes. To this day, the traditions of harvesting bark remain and have guided weavers since time immemorial. The weaving techniques that provide means to gather food (rope), store food and cook food (baskets), and cover yourself in garments were essential to the continuation of life on the Northwest Coast.
The Tree of Life
Harvesting from The Tree of Life the western red cedar is a special kind of responsibility. There are too many people who know the steps of harvesting but have little understanding of the deep impact that harvesting has. I was taught by generational weavers that a harvester should walk as deep into the forest as they are able, away from trails where those enjoying nature would see. We walk as far as we can so that those less able to walk that far can harvest closer to road and trail. Only elders and those with limited means of mobility have the right to harvest in more accessible areas. People usually have support from others to get back further into the forest.
To assess a tree you think is ready for harvesting, think about where it is. Think about which side the branches lay in the sunlight. Give it a hug to see if it’s the right age. A huggable tree should have the right amount of sap and grain lines. Give thanks for the tree being there and take the outer bark off next to the tree. Don’t take more than you can process in one day; one tree can be up to eight hours of stripping and processing. There is also a limit to how much any tree can give; if you overharvest the tree, it will not be able to heal itself.
Interactive Display
The red cedar tree in the exhibit was created and constructed by Stacey and Gara Williams to practice a pull. Before that can happen, please pay attention to these “Guidelines of Harvesting”
- Respect yourself, respect others, and respect the environment you are in.
- Center yourself. Clear your mind of other thoughts, wants, wishes, and start at peace.
- Think about why you are doing this.
- Only do it once; to do it repeatedly would represent taking more than what is needed from a tree.
- Start at the base of the Tree of Life. Peel back enough to get a grip.
- Slowly pull towards the ground and away from the base. DO NOT try to rip it hard or at an upwards angle.
Why a Tree?
The first time I presented this exercise was in a classroom at Houghtaling Elementary. The idea was to engage in an activity that represented harvesting, without taking a whole group far out into the forest. I ran some painter's tape down the middle of a doorframe and the goal was to peel it at a downward angle without tearing it in half. The students were excited to participate and ended up being pretty talented at it. They were also very encouraging to each other, giving helpful hints and watching out for the tear of the tape. This is a prime example of Learning Through Teaching; I wouldn’t have known it would work until I tried it out with a classroom of students. I tried it again the following week with a different class and had spectacular results there, too. The idea of a life-sized tree trunk for others to be able to pretend to take a strip was born. In this version, strong and thick cardboard tubing was used for a base layer. Two tubes had to be mounted together with spray foam covering the full area of the “tree.” The foam was shaved down, and silicone was spread to seal the foam's many holes. Epoxy resin was poured along the crease of the pulling area. A “cedar strip” was created out of fabric, with a darker side for the outer bark and a lighter color for the inner bark. This was attached to the tree under the spray foam and strips of Velcro were added.
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Dawn Rauwolf -
Dorica Jackson -
Irene Dundas
photograph of Sheldon Jackson Basketry Collection, 2021
11” X 14”, framed
Research
It is essential that as we undertake traditional art forms we engage in research as well. Some research must be done by examining items held in museum collections. These arts were almost lost, and have been reclaimed by the current generations. During my time at the Sheldon Jackson Museum in Sitka, Alaska as an Artist-in-Residence, I was constantly learning new things and sharing them with the staff, visitors and friends far away. Pictured is a photo of my amazement when viewing just one of the many drawers full of baskets. I was also able to study two Chilkat blankets, a Chilkat tunic, smaller woven spruce root items, and various utilitarian items from several Alaska Native cultures. Sitka, Alaska is such a wonderful place, and the people there were so happy to learn with me and share that learning with someone else.
Learn More
Stacey has put together some interactive videos on her website StaceyWilliams Weaver to share techniques that can be practiced at home. Supplies are available for free at the Main Street Gallery through March 25th or you can use supplies from home. Check out these wonderful interactive videos HERE!
Click on the image for artist narrative and link to purchase
