Artist Essay
James Johnson (left) is a prolific, award-winning Tlingit artist of the Eagle Killerwhale Clan (Ch’áak’ Dakl’aweid), born in Juneau, Alaska. He is a multi-disciplinary artist, noted in his diverse array of works, but his primary concentration is traditional woodcarving. Despite this, Johnson works with contemporary forms and stylistic choices, perpetuating the honoring of his culture through both customary and adaptable means. Johnson is recognized at a national level, collaborating with global brands such as Vans, Volcom, Yeti, and Google. His work spans about a decade, Johnson's first submission to a show being in 2012. I chose Johnson for his impressive, hand-carved regalia. When thinking of formline, this is the first medium that came to mind and Johnson's portfolio is a spectacular example of such. He has dedicated his life to preserving Tlingit customs and his art achieves this goal beautifully and evidently.
Alison Bremner (right) is a professionally trained Tlingit artist, employing multiple mediums within her work, such as painting, woodcarving, regalia, and digital design. Her career as an artist also began in 2012, now having her work within collections of museums across the country and even internationally. Additional to her artistic accomplishments, Bremner is committed to revitalizing the Tlingit language. She, as mentioned, was the first Tlingit woman believed to have carved and raised a totem pole. The making of totem or crest poles was traditionally a male art. However, Bremner doing so demonstrates the development and change of Tlingit customs throughout time, accentuating that it is neither a stagnant nor dying culture. This point is one Bremner stresses in her artwork, actualized in the sheer versatility of her craft and unique integration of formline, hence my reason for choosing her as one of this exhibit's artists.
Gene Chilton (not pictured) was born in Juneau, Alaska, growing up in both Juneau and Angoon. He began his career as a silver-engraver in 1978 and has been in the practice ever since, being certified by the Gemological Insitute of America in 1988. His works thus span across decades and have become rather infamous in Southeast Alaska. Chilton prioritizes teaching through his artistry and thus the effort to perpetuate the technique of formline for generations to come. Gene and his brothers, Doug and Brian Chilton, are all masters of various artistic styles, though they specialize in jewelry and carving. Metalwork is not conventional in Southeast Alaska, which is the main reason I chose to incorporate Chilton's work. It indicates an influence of Tlingit art by the metalsmithing of the Southern Plains, creating a fascinating union of both nation's history that aids in strengthening their individual allure. This also highlights the multiplicity of formline and how it cannot be restrained to a single medium, done so on stunning gold and silver jewelry.
Ursala "Kadusné" Hudson (left), born in Juneau, began her artistic journey through self-taught graphic design, transitioning to painting and printmaking during her undergrad years at Fort Lewis College. Though painting was and still is central to her artistry, she became completely submerged into Chilkat and Ravenstail weaving as soon as her mother introduced her in 2016. Thus, her employment of formline is fairly recent, adding to the admirability of her talent. Her Tlingit name Kadusné literally means "they are weaving", fitting and indicative of her skills inherited through her ancestors. Hudson is mixed-race, utilizing weaving as a medium to become in tune with her personal identity and alleviate feelings of inadequacy, of being an imposter. Her admirable background, highly spiritual approach to every piece, and skilled artistry resulted in my choosing of her incorporation. Furthermore, her theme of interconnectivity within her own work resonated with me and is centered within this exhibit as a whole, resulting in me using her art to promote this explicitly. Every artist chosen for this exhibit is Tlingit and utilizes traditional formline designs within their work. This ranges across several mediums (carving, weaving & beadwork, leatherwork, metalwork, and painting) and thus a range of contemporary and customary applications of this technique. They are each connected by their regionality and their unique fashion of representing their community with the support of formline, distinct to the nation they belong to. Alison Bremner and James Johnson had works submitted to the same juried shows, each winning awards for their stunning contributions. To my knowledge, these artists have not collaborated with one another on any works, though this remains a possibility as Chilton, Johnson, and Bremner continue to reside in Juneau. Culture is both personal and shared within a community, as each artist communicates themselves and through the art they create. The cultural significance of Tlingit formline is reflected meaningfully through Johnson, Bremner, Chilton, and Hudson and, with their efforts, will continue to do so for a millennium, in their art and the furture artists they inspire.
Sources & Images: As Artists Appear
Johnson, James. "About -- James Johson," n.d. James Johnson Native Art. https://www.jamesjohnsonnativeart.com/about.
Bremner, Alison. "Bio + Contact | Alison Bremner," n.d. Alison Bremner Tlingit Artist. https://alisonobremner.com/bio-contact/.
Rasmuson Foundation. "Gene Chilton | Rasmuson Foundation," 7 Nov. 2014. https://rasmuson.org/people/gene-chilton/.
Gene Chilton (not pictured) was born in Juneau, Alaska, growing up in both Juneau and Angoon. He began his career as a silver-engraver in 1978 and has been in the practice ever since, being certified by the Gemological Insitute of America in 1988. His works thus span across decades and have become rather infamous in Southeast Alaska. Chilton prioritizes teaching through his artistry and thus the effort to perpetuate the technique of formline for generations to come. Gene and his brothers, Doug and Brian Chilton, are all masters of various artistic styles, though they specialize in jewelry and carving. Metalwork is not conventional in Southeast Alaska, which is the main reason I chose to incorporate Chilton's work. It indicates an influence of Tlingit art by the metalsmithing of the Southern Plains, creating a fascinating union of both nation's history that aids in strengthening their individual allure. This also highlights the multiplicity of formline and how it cannot be restrained to a single medium, done so on stunning gold and silver jewelry.