Emily’s Triforce


Hello, everyone. My name is Emily Trujillo & I am the daughter of Irvin & Lisa Trujillo, and the 24 year-old 8th generation Weaver. It took me so long to start this because I had what I like to call a ’24 year teenage rebellion.’ I grew up being asked if I was a tapestry artist by almost everyone, so out of angst I played around with almost every other art medium: from jewelry to watercolors, tape sculptures to Photoshop. What really helped me change my mind was my college career. One of my majors was ‘Ethnology,’ the study of culture, and it really made me appreciate my own heritage. Even if I decide to go to grad school instead of following my parents’ careers as tapestry artists, I came back to Chimayo to make sure Rio Grande Weaving doesn’t end at 7 generations, and hopefully pass it on to the 9th.

This is my first piece that got named ‘Emily’s Triforce’ by my mom. I sold it before I was even ready to sell it & I wasn’t even sure I wanted to. I showed it to someone before it was even photographed, and they asked to buy it & so I quickly shot a – sadly – warped picture so I at least had something. This piece meant a lot to me, not only because it was my first, but also because at the time I was weaving it I was getting ready for my first figure skating competition. I was skating to the theme of “Legend of Zelda: The Windwalker,” a video game I played with my brother as a kid. Because of this, I was listening to the soundtrack from Windwalker & other various Zelda games during the entire 7 hours it took me to weave this. In other words, it represents a particular slice of my life. The triangle in the center is like a Triforce, but since in the game there are islands & mountains you sail to, it represents the land surrounded by the seas you explore. This story is important to my introduction because I hope to learn the traditional styles & techniques but use them to create my own style, one that represents my generation. I am my own artist with my own personality & life story, and it will reflect in my pieces. I hope to one day create works of art like my parents & not let them down, but only time & hard work will get me there. We shall see.

Emily now has her own page on the CTA website: http://www.chimayoweavers.com/category/ET.html

Jake Trujillo’s Navy Experience

JakeatTreasureIslandThis is from a transcript of an old oral history interview with Irvin Trujillo’s father Jake. It’s a nice thing to have run into today, on Veteran’s Day. When we went to go find a picture of Jake in the Navy we found this picture, which is dated (at the bottom of the picture) November 11, 1944. A lot of Veteran’s Day coincidence.
“In 1942, I was called into the army, I was inducted.  Well when I got my induction papers, I went over to Santa Fe.  At that time my oldest brother was working in Santa Fe.  He was a cook in one of the restaurants there.  And I went over and told him that I had received my papers and he says ” Why don’t you g0 and enlist in the Navy. It’s a better branch. I see the sailors here and I know that are having a lot of fun. It’s a good branch of the service.”  So I went to the Navy induction center and asked them if I could enlist in the navy and they said yes, if you pass the physical exam. So I passed the test and they told me “Report here in two weeks, you’ll be in the navy. S0 I reported there and they sent me to San Diego, California for training. After boot camp they sent me overseas. From San Diego they sent me to San Francisco, and from there to Portland, Oregon. From there they assigned us a ship in the Merchant Marines, a ship, a gun crew of 25 sailors. I didn’t do any weaving during that-period. We were going from Seattle to Alaska, back and forth delivering supplies on a Liberty Ship.  We were taking the supplies to the fighting men in Alaska.  I made about six voyages. Then I had time to come home on leave. Then I reported back to Treasure Island, and from there they gave me shore duty for about four months. I used to work in the offices as a messenger.  After four months I requested if I could be assigned to go to South America. He said sure, so he gave me an assignment to go overseas. So I went from San Francisco to the South Pacific and unloaded there.  From there they sent us to Antipavasta (?) Chili, and to the Panama Canal, and they from there we landed on the USS Virginia. ’When we got there I had a telegram for me to report to Treasure Island for a special assignment. When I reported there I thought they would send me to the fighting. But they invited me into the office and were asking me a lot of questions and they finally said”We have checked your records and found you have been an instructor in arts and crafts. we need you to teach the sailors the different crafts that you know. You will be in charge of the place here. We will authorize you to purchase whatever you need” I thought it was great. I stayed there for about two to three years 44 and 45.”


Why this Weaving Thing is So Much Fun.

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(This may be heavy on hyperbole, but it’s hard not to hit the high notes when talking about something this good!)

1) There is a proud history to Rio Grande weaving.  There once were a lot of people here in New Mexico weaving blankets for trade to far away places.  And that was over a period of hundreds of years.  At any one time at least some of those weavers were trying new things – designs and techniques – and their legacy remains for us to explore.

2) The old pieces are things of beauty.  The time we get to spend closely examining historic Rio Grandes is time we really enjoy.  There are always exciting details to pay attention to, and new things to be learned from them.

3) The design process and the weaving process are one and the same – and it’s magic.  Okay, sometimes we are working from pictures or things that are pretty well planned out.  But even if we plan things out on paper, there are lots of design decisions that need to be made during the weaving process.  For the most part, though, when we’re weaving a traditional design we get to design it while we are weaving it.  It’s a very dynamic and exciting process that makes standing at the loom and weaving a mind-stimulating adventure.

4) Sometimes I can be all alone and weaving and never feel lonely.

5) Sometimes I get to weave and talk to the most interesting people at the same time.

6) I get to meet every kind of person there is.  People come here from all over the world and from every walk of life.  And they are almost always relaxed and happy when they are here ’cause they’re on vacation.  And people are the most interesting things imaginable.

7) There are so many processes and skills that apply to this business that I am always learning new things.

8) I get to live in the prettiest place around.

Dyed in the Wool – New Mexico Magazine article

Irvin Trujillo

Irv portrait small

This is from an interview done with Irvin.  The interviewer gave Irvin the chance to correct and add to the original interview.

Irvin:  “I started when I was 10 years old. My dad showed me how to carry a design.  He didn’t draw pictures. He didn’t have sketches when he did his weaving, and he didn’t take pictures of his weavings to document what he had woven. So I had no source of design other than verbal instruction from my father. That led me to look into Navajo books because I could not find any books on Hispanic weaving. There was very little written about Spanish weaving. There was usually a one-page description to compare Spanish weaving to the Navajo weaving.

When I got older, I started to wonder. I said to my Dad, “You’re a seventh generation weaver–what did these other generations do?”

And he said, “Well, my grandmother’s pieces were striped.”

And they were in the crib in the next room when we stayed at my grandmother’s house, and my aunt would put it on us as a blanket during the winter.  These are simple, striped, hand-spun pieces.

There was a book published in 1976 called The Spanish Textile Tradition of New Mexico and Southern Colorado. This opened my eyes to the Saltillo serape’s influence, which I hadn’t seen before. Another great influence on my weaving has been the Spanish Market, a crafts fair started in Santa Fe in the 1930’s, which encouraged the use of hand spun and natural dyes in weavings, and other Spanish Colonial crafts. The Spanish Colonial Art Society in Santa Fe revived the market in 1965, and my father was invited to show his weavings because they knew him from when he taught as part of the WPA project in the 1930’s. I started to show my work with him at the Market in 1976 and I was able to see what other weavers were doing.

After getting married to my wife Lisa in 1982, we decided to become professional weavers and open up our own weaving studio. We started studying Rio Grande weavings in museum collections. We participated in the repackaging of the weavings, probably about 200 pieces, at the Museum of International Folk Art collections in Santa Fe.

Lisa and I started to look at other museums to see what their collections had. The Southwest Museum in Los Angeles, the Heard Museum in Phoenix, the Taylor Museum in Colorado, the Albuquerque Museum, the Museum of Anthropology at the University of New Mexico, the School of American Research in Santa Fe, and many others. What we saw is there wasn’t one design reproduced over and over. There were individual weavings made by unknown artists. It led us to study their forms, how they developed the design ideas, materials and finishes. Not necessarily copying the designs exactly, but taking notes for ideas. So that kind of helped us to start designing more complex pieces. We started to explore these influences in our weaving.


We got to help curate a Rio Grande textile exhibit for the Albuquerque Museum and Lisa and I we were able to make comments on the pieces that would be is exhibit.  The comments showed up in the catalogue of the show.  There, I also helped them put together an old loom which was basically a bunch of sticks in a box. From my knowledge of looms, I got to put it together and I wrote a procedure for putting up that loom for the museum. The study of looms is an ongoing interest of mine. I’ve constructed looms and seen different details found on looms that I’ve helped people put together and get working. This has been in general, not just in museum owned looms.”

There are some other things Irvin would like people to know about him.  One is that he is a drummer.  He probably would’ve liked to have been a professional drummer, but that hasn’t ever been offered to him.  So he’s been drumming with all kinds of different bands playing different kinds of music.  He has tried his hand at doing the recording and mixing side of the process too.  His work as a drummer and his work as a weaver don’t often have much of a connection, but once we held a party here in the shop, with music.  So we have this wonderful picture.  And a few CD’s from projects that he has been involved in.


The fact that he’s an engineer is also important.  He worked as a civil engineer for the Corps of Engineers in Albuquerque after getting his Bachelors of Science degree from the University of New Mexico in 1979.  He actually got his Professional Engineer’s license in 1983.  Although he gave up the PE license years ago, Irvin continues to engineer things for Centinela.  Our warping systems and the giant loom we have here in shop are both engineering accomplishments, as are his various sets of architectural drawings over the years for our house and shop and sheds on the property.

tension box 2

His drumming and engineering education and skills are integral parts of who Irvin is and how he weaves.   They might seem like three very different kinds of thinking.  All of these things are mathematical and logical with room for great creativity.