"The Best Tools Available" How a Week with Perry Eaton Shaped a Tribute to My Grandmother
- SIDCO
- 6 hours ago
- 3 min read
From a raw slab of Sitka spruce to an Alutiiq Matriarch mask.
By Danica Clarion
In April, I took the opportunity to attend a traditional carving class under the instruction of master carver Perry Eaton. Beginning with a raw slab of Sitka spruce, I learned the full process of mask carving, from a rectangular block of wood to well-formed art.
The title, Matriarch, refers to my maternal grandmother.
Carving the Center Line
We carved from the top of the mask down, working around a center line to maintain symmetry. I used a large gouge to remove excess material, then switched to smaller tools as things developed. I used a uniform chipping technique to create the bark-like texture of the forehead. This texture is deeply personal, reminiscent of the cottonwoods growing in my grandmother’s yard.
Tradition Meets Technology
Perry showed us how to drill holes into our masks using Dremels, drills, and an Automach power carver for the back. While some might think modern power tools compromise tradition, Perry reminded us of a core truth. We were “using the same tools as our ancestors: the best ones available.”
The power carver significantly reduced hollowing time. This efficiency allowed more time for the all-important sanding process. By the end of the week-long class, the carving portion of my mask was complete, but I still had the painting, ornaments, and hoop to finish.
Inside the Anchorage Studio
I wanted to keep the momentum going, so I took up a class-wide invitation to visit Perry’s studio in Anchorage shortly after. The studio was filled with every tool a woodworker could need: planers, sanders, saws, paints, coffee, and even a studio companion: the famous Alvin Ameson. There, we soaked a strip of wood to bend and nail to a square of plywood to form my hoop. The plywood had originally been used to secure our masks, giving stability and leverage at the start of the class.
The Alutiiq Babushka
Perry’s process is an art form. Each step intentional, masterful, and streamlined from start to finish. After choosing styles for the ornaments, feathers, and colors, I assembled the hoop. We drilled more holes, made pegs, and set everything up to see what it would become. Then I painted each piece, carefully mixing paints and water. I paid close attention to timing, as some layers dried quickly while others needed to set overnight.
He taught me how to make stencils to keep my designs consistent. He also offered guidance for a paisley pattern inspired by the headscarves worn by my devoutly Orthodox grandmother, a true Alutiiq babushka. Through each stage of the class, the mask came together from raw wood into a finished form, shaped by careful instruction, steady work, and the woman who inspired it.
Acknowledgments
Quyanaa to the Ouzinkie Native Corporation for hosting this incredible class and bringing this vital cultural opportunity to our community. Special gratitude to Vickie Novak for her dedication and support in organizing the workshop, and to master carver Perry Eaton for generously sharing his space, wisdom, and lifelong expertise.
About the Author
Danica Clarion is an emerging artist exploring traditional Alutiiq arts and cultural heritage. She created the Matriarch mask as a tribute to her maternal grandmother and her family's deep roots in the region.
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