Craft and Identity Course Exhibit: The Students’ Statements

By Heidi Goldberg, Associate Professor of Art

Examples of students’ warp-weighted loom weaving

Last summer from May 9^th through June 7^th, four students from Concordia College in Moorhead, Minnesota, went on a learning adventure. Alexis Anderson, Kristina Brunson, Rachel Johnson, and Alli Pahl joined me and her daughter Aubrie (a freshman at Oak Grove Lutheran High School in Fargo) for a month-long course in Norway, Craft and Identity. Their experience was celebrated in an exhibit at the Prairie Fiber Arts Center from January 12 – February 16, 2018. The samples they wove during a week-long course at the Osterøy Museum represented traditional åkler (bedspread) designs from Western Norway and varafeldur (Viking cloak). Below are the artist statements written for the exhibit; they demonstrate the meaningful experience of immersive, hands-on craft instruction. As Kristina Brunson wrote, “Sometimes when looking at things, there isn’t a great appreciation for it until you’ve done it yourself. It also means a lot more after putting your own hard work into something.”

The Craft and Identity group (left to right); Aubrie Goldberg, Kristina Brunson, Rachel Johnson, Alli Pahl, Alexis Anderson, and Heidi Goldberg

Alexis Anderson

The most impactful part of the Craft and Identity course for me was the weaving workshop in Osterøy. It was my first time weaving with a warp-weighted loom and I very much enjoyed the whole process. The weaving workshop gave me the opportunity to throw myself into making art. Rarely do I and will I have the chance to truly live and feel like an artist for a week: daily walks to and from the museum, spending hours on end deeply engaged in creation, eating our matpakke in the studio and picking right back up shortly afterwards. This workshop showed me that I have what it takes to dedicate myself to a project that seems intimidating and larger than myself at first, and that I can be an artist in whatever way I choose. The weaving workshop was the most impactful for me because it taught me the most about myself: I can be patient and go with the flow; I can be hard on myself, but I can easily shake my mistakes off, learn from them, and move on; and I can learn a new skill and be successful if I dedicate my energy and time to it. Throughout the four weeks of this course I found myself increasingly noticing the art and beauty that surrounds us all. My eyes have been opened to the art that exists naturally and it has made the world a more colorful place.

Rachel Johnson

I am a Social Studies Education major at Concordia College. While at the Osterøy Museum during the Craft and Identity class, I worked on an åkle weaving on a warp weighted loom. The most challenging part of weaving was the process of setting up the loom. There is a lot of preparation, about a day’s work, to do before one can even start weaving. I really enjoyed picking out traditional patterns from weavings in their collection and using traditional colors in my own small sample piece. My absolute favorite part of our time at the Osterøy Museum was our teachers. Marta and Monika were wonderful, incredibly knowledgeable, and extremely patient.

Alli Pahl

Last May 9th through June 7th, I had the opportunity to attend the Craft and Identity course. The course offered many experiences that we all learned so much from, but one of the biggest learning weeks for me was the week we spent in Osterøy. While in Osterøy we had the opportunity to spend a week at the Hordaland Museum where we learned how to warp and weave on a warp-weighted loom from amazing weavers, Marta and Monika. It was an experience that I will never forget. I had never done any sort of weaving before so it was definitely something new for me, and was much harder to do than I had originally thought. After seeing Marta and Monika’s works along with museum pieces, and in the process of working on a weaving myself, I gained so much respect for weavers and the work they do. It truly was an amazing experience to learn from such talented artists. Not only did they teach us about weaving techniques, but they also talked about the history of these weavings, and they taught us about making and using natural dyes. Throughout the month we spent in Norway, it opened my eyes to so many different types of art forms and techniques. There was so much we learned historically from going to places such as Maihaugen (an open-air museum in Lillehammer), where we got to see the old houses of Norway and learn about how people during lived in previous centuries. Norway is a place filled with art and beautiful scenery, and this was a trip I will never forget.

Kristina Brunson

The Craft and Identity trip was no less than amazing. The experience and culture that was obtained on the trip is something I’ll remember and will forever influence how I look at the world around me. I have also gained a greater appreciation for the skill, effort, and hard work it takes to do things such as weaving. Weaving takes more time and patience than it may look. It took almost a day and half before actually being able to start weaving. While working on the weavings there were a variety of different techniques to learn to get different patterns such as tabby (plain weave), krogbragd (crooked path), and rutevev (square-weave), just to name a few. After learning some of the different patterns it made things go a bit faster but it still took time, which was ok as it gave a perspective of how much work it really takes, even though the weaving is a lot smaller than normal size for the traditional akler (woven bedspread). Sometimes when looking at things, there isn’t a great appreciation for it until you’ve done it yourself. It also means a lot more after putting your own hard work into something. This experience has opened my eyes and changed how I see things and appreciate the hard work and dedication it takes to do handcrafts like weaving.

Aubrie Goldberg

Weaving on Østeroy brought a new perspective to me about how much work used to be put into every aspect of a person’s day to day life. I worked on making a varafel sampler. The traditional varafel would have been used by the Vikings as a large cloak to keep them warm and dry. This would have been a valued item at the time for obvious reasons. I observed the process of making the åkler, which were used as thick blankets on a bed. They were very colorful and tastefully designed. I realized how much work was put into every object. Everything was crafted by hand, from the table-wear to the homes. It’s crazy how much time was spent making things then compared to now with all the machines doing a lot of work. Most people have lost sight of what it takes to make something by hand and especially how long it takes to get good at it. For me, art and craft are both very rewarding. I enjoy spending my time working on something creative that will be enjoyed by others and myself. Weaving on Østeroy was a valuable experience.

Craft and Identity: An Immersion Course in Norway

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By Heidi Goldberg

It was 14 years ago that my friend Dawn Tommerdahl and I began taking weaving classes together. It wasn’t long after that I became aware of the wonderful world of Scandinavian weaving. We both fell in love with weaving (already being avid knitters and fiber fanatics). In short time we had a “string gang” as Dawn and I were joined by friends Charlie Hovde, Sharon Marquardt, and Marian Quanbeck-Dahlberg, who are all marvelous weavers. Fiber communities seem to be ever-expanding groups (particularly with the marvel of communication via social media at our fingertips) where the culture of sharing, support, passion, and knowledge keeps us all moving forward. Over the years the string gang has motivated and learned from each other while taking classes at the Vesterheim Museum in Decorah, Iowa, and at our highly anticipated annual get-togethers. These experiences I revel in as an artist also feed my work as an educator. Exposing students to the thrills of cultivating and working with natural materials through observation and practice is exhilarating. Naturally I want to share this culture of learning and accomplishment with students and see them embrace the joys of seeing, designing, and making. Having the opportunity of going to Norway with a group of students and connecting with artists in Norway was a sweet adventure that I couldn’t have dreamt of in my early days of teaching, and one for which I am extremely grateful.

After years of preparation and an invaluable scouting trip to Norway to explore and set up contacts, things were set for a summer school course in Norway from May 9^th–June 7^th, 2017, called Craft and Identity. The goal of the course in a nutshell was to study art and craft practices and traditions, and to look at how they relate to ourselves as individuals, makers, and artists considering the following;

influences of history on art/craft
fundamental connection of art/craft to nature and environment
function and design as they relate to form/intention
technical processes of various media
critical use of fundamentals of design elements and principles
aesthetic/style
integration, support, and importance of art/craft in society
connections between traditional and contemporary arts
connections and differences between Nordic (Scandinavian) arts and arts of other cultures

Our travel group consisted of four students; Allison Pahl, Alexis Anderson, Kristina Brunson, and Rachel Johnson, plus my 13-year-old Aubrie, and me. Traveling from Fargo to Lillehammer went well, and despite full understanding on the part of this northern crew of the necessity of cold weather preparation, some wardrobe upgrades were vital. So, the day after our arrival and an exhilarating morning walking through sleet in Lillehammer and Maihaugen, we discovered Fretex (a treasure trove of second-hand quality goods) where some fine bargain lambswool was procured! Exploring the exhibits at Maihaugen laid the foundation of historical and creative inquiry for the trip with its extensive and holistic collection of artifacts that illuminated the art and culture of multiple eras in Norway.

Niblet, the Concordia College mascot, visits the Olympic ski jump in Lillehammer..

Museum and gallery visits (balancing historic and contemporary foci) were an important part of the course in each location to which we travelled, but the hands-on components were particularly memorable. We took a bus to Gjøvik for a short workshop to learn about and print skinnfell with Britt Solheim in her studio. She treated us to an unexpected traditional Norwegian lunch in her home, the first of a number of very special moments of warm hospitality we encountered. The next day we were treated to a wonderful talk about the prints of Vegard Stalsberg at Galleri Zink, and we investigated the exhibitions at the Lillehammer Kunstmuseum. Another highlight was walking up to the Olympic ski jump at the top of the city.

When we arrived in Oslo, it was appropriate for us to begin our stay with a visit to the National Gallery. We were happy to find Oslo welcoming and easy to find one’s way around in. We stayed just north of the Royal Palace, allowing easy mobility around the central part of the city. We packed a lot into our 11 days in Oslo, along with a day-trip to Eidsvoll Verk to see Constitution Hall. We toured the facilities of the National Opera, took in the ballet of Don Quixote, window-shopped on Karl Johan, saw Akerhus Fortress and Castle, Vigeland Park, Vår Frelsers graveyard, Grünerlokka, The Munch Museum, Aker Brygge, the Astrup Fearnley Museum, and much more. Occasions when people shared their expertise were particularly special.

In front of the National Gallery: Aubrie Goldberg, Alexis Anderson, Rachel Johnson, Alli Pahl, and Kristina Brunson

We spent time at the Norwegian Folk Museum and met with ethnologist, curator of textiles and costumes, and bunad expert Kari-Anne Pedersen to prepare for the multitude of bunads from all regions we were to see on Norwegian Constitution Day. On Syttende Mai we had tickets to stand on the palace grounds and see the royal family and the parade from a great vantage point – which was memorable because one becomes completely surrounded by the festivities. The following day we were invited to the home of Kari-Anne Pedersen to learn some basic embroidery techniques. She taught us a bit of the beautifully contrasting geometric technique with linen thread called smøyg, while her friend Helen Juell taught us some organic/floral rosesaum with wool thread. We sat together around the table, talking, listening, and learning. All this while enjoying good chocolate and coffee, and a wonderful lunch with home-made lompe, cheese, meat, and jam. Delicious!

A studio visit with Kari Steihaug

A tour with Kathy Elliott, Lecturer in the Department of Exhibitions at the Cultural History Museum, was wonderful; she imparted rich knowledge and stories and is so passionate about teaching Viking and medieval art. We also explored an island in the Oslofjord called Hovedøya. It was an honor to be invited into the studios of noted fiber artists Inger Johanne Rasmussen (who makes mesmerizing colorful large works with inlaid felted wool), and Kari Steihaug (who creates poignant and beautiful socially active works in the form of installations). It was critical for us to witness contemporary artistic process with the works they shared and make connections between the past and present. We left Oslo with many more miles on our shoes and took the scenic train trip to Bergen en route to the largest inland island in Norway, Osterøy.

We stayed on an idyllic farm, Skjerping Gård, among grazing Vilsau sheep and we walked back and forth to the museum each day. It was at the Hordaland Museum where we took a week-long intensive workshop on warp-weighted weaving. I knew Marta Kløve Juuhl from a previous course at the Vesterheim in Decorah, Iowa, and was delighted to meet Monika Sunnanå Ravnanger (a fashion designer and weaver who also has expertise in traditional dying methods), who is also working at the Hordaland Museum. The two were marvelous teachers.

Preparation for a day at the loom,

We worked on warping and weaving a variety of techniques on warp-weighted looms, with two people working per loom. The students had the choice of making a sampler of a traditional colorful åkle with various weave structures, or a Viking varafel with dehkhår (long fibers of the wild sheep – Vilsau). The students all chose the colorful åkle project while Aubrie and I opted for varafeldur, so it was nice for everyone to see variety of work progressing during the week. We were also fortunate to watch Monika develop a special project. She was weaving white varafel sleeves on the warp-weighted loom as part of a collaboration with a Norwegian fashion designer for a piece for the famous Norwegian musician Aurora. It was exciting seeing this work being done, and it was a striking example of how old craft lends itself to contemporary practice in art. We were treated to Marta’s talk on some extraordinary historic objects in the collection (both tools and weavings), and Monika’s talk on traditional dye methods. Also, there was excitement about Marta’s newly released book, The Warp-Weighted Loom (a worthy investment). The week-long workshop was a well-placed break from the faster pace of exploration we had up to that point. It was good to have time to reflect, walk in nature, and pursue the single goal in learning new technique and weaving for the week.

Concordia students working on back-to-back warp-weighted looms at the Hordaland Museum in Osterøy, Norway

Unforgettable Bergen antique shop

It was bittersweet to leave Osterøy but exciting to head to Bergen for our last days to explore the famous port city with its incredible fish market and charming streets. We began understanding the city with a ride up the mountain on the Floibanen, where one is rewarded with an aerial view of the city below. We followed that with healthy miles of hiking on the mountain and back down to and through the city. The next day we were kindly given a tour in the backrooms at Husfliden to see preparations of bunads (thanks to Monika for arranging it with a colleague). We enjoyed the Kode art museums as well as antique stores in Bergen. A Norway in a Nutshell tour (by train, bus, and boat) featured jaw-dropping nature along the Bergen Railway, Flåm Railway, Aurlandsfjord, Nærøyfjord, and Stalheimskleiva. It was awe-inspiring to absorb the incredible scenery along the fjords from our front row seats. It was a fluid connection to where we started in Lillehammer at Maihaugen, looking at the objects people used that were inspired by the power of nature and the necessity of navigating through it. Everything comes full circle.

Six months after the trip we shared the results of our work in Norway with our community. We put together a modest exhibition of the weavings we made called Craft and Identity – Summer School in Norway: Learning Weaving Traditions of Western Norway, at the Prairie Fiber Arts Center in Moorhead, Minnesota. My hope is that these marvelous students who helped make the trip so delightful, will be inspired to continue with what they have learned on this adventure and that they let the experience inspire life choices that will cultivate inspiration and satisfaction for many years.

Heidi Goldberg is an Associate Professor of Art and Chair of the Art Department at Concordia College, Moorhead, Minnesota, where she has taught since 1995. She graduated with a BA from Hamline University in 1990, and earned her MFA in printmaking and works on paper from the University of Michigan in Ann Arbor in 1993. Inspired by topics regarding the natural world and our relationships to it, Goldberg works in mixed media, fiber, and printmaking. Her works have been exhibited in local, regional, national and international juried exhibitions. She lives in the sand hills near the Sheyenne National Grasslands in North Dakota.

Ullialt: A Program to Promote Norwegian Wool

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Translator’s note: Norges Husflidslag (the Norwegian Handcraft Association) is working on a four-year project to increase the knowledge, use, and availability of Norwegian wool, titled Ullialt (Wool in Everything). This article originally appeared in Lokalhistorisk Magasin (No. 1-2, 2016), and is translated and reprinted with permission. Robbie LaFleur

By Sølvi Westvang, Project Leader

Norwegian wool has saved lives. It has given us a national identity and proud stories from the extreme climate of Norway. Sixty percent of all Norwegians have wool in their closets, in contrast to almost 0% in the wool-nation of England. In Norway you don’t see children in nursery school between November and April without wool clothes, and when we have time off we pick up our knitting needles. When we handle wool we assume it is from Norway—but that is rare.

As the country’s largest organization for handcraft and textiles, we know both the users of wool and the market well. Misleading labels and difficult to find information on the wool we use has made the need for a better labeling system and broader knowledge of Norwegian wool apparent.

For that reason Norges Husflidslag (the Norwegian Handcraft Association) arranged a national meeting in 2014 and has undertaken a focus on wool for the period from 2015-2018, under the project name Ullialt (wool in everything).

Economic cornerstone in a meager landscape

Norwegian wool has created cornerstone businesses in Norwegian towns and communities, and through generations it was the basis of demanding work for untold numbers of women in their homes, both in connection with home and animal care, and with handcraft. Children and husbands must be kept warm, and women required the skills and knowledge to create everything that was needed. Communities developed as a result of the need for wool products. But then imports began to increase, factories were bought out, and production was taken out of the country. Knowledge of the past disappeared. Long ago.

Today’s environmental focus, a “green wave,” has contributed to a change in our attitude as consumers. We want to know how our products were made, how the animals were treated along the way. We want insight into the environmental costs of their production. “Local” has positive connotations. Today there is status in purchasing items produced close to home. Designers, handcraft producers, and consumers are placing pressure, and manufacturers have just started to respond to these demands.

Is is Norwegian?

But there is one way to go, and today labeling of wool products is one of the biggest challenges. The rule seems to be: The bigger the Norwegian flag there is on the tag, the smaller chance there is that what you hold in your hand is made of Norwegian wool.

Ask about the origin when you are shopping! Many powers are pulling the in same direction to identify Norwegian wool. The National Institute for Consumer Research has the ball now, while several subject specialists contribute opinions and knowledge during the project. During the project period we hope to see the contours of a label regulation that will help knowledgeable consumers purchase correctly: clothes and yarn with deep roots in our local and national history.

You are what you eat

Images from an Ullialt poster

That is true for sheep, too. A good life with good food from the Norwegian landscape and nature gives our 2.5 million sheep good meat and fine wool (when the sheep choose themselves, they eat herbs.)

4500 tons of wool are produced in Norway annually. Barely a third of this becomes yarn or textiles for you and me. The rest of the wool is exported or discarded. 53,000 tons, or about half, of all the textiles sold in Norway are made of cotton that has traveled halfway around the world one or many times. Our average use of cotton is three times as big as that of the rest of the world. Norwegian wool travels a short way and has been minimally treated with chemicals. Our sheep are healthy, and their wool is renewable and environmentally friendly. Norwegian wool is a resource with huge potential!

Through the Ullialt program Norway’s Handcraft Association has taken a leading role in disseminating information on Norwegian wool. From April 20-23, 2017, we held a conference in Stjørdal under the the project’s name: Ullialt. In the course of four days almost 200 participants received insight into politics, land use, handcraft techniques, environmental labeling, design, and a number of other facets concerning wool. The project will include several initiatives during the project period. We will especially try to reach children, young people, and farmers. It is important to root our knowledge here, because this is the future for Norwegian wool!

Translator’s note: There is much more information on the project on the Husflid website, at www.husflid.no/fagsider/ullialt, including: an inspiration page listing many books on spinning, knitting, and weaving with wool; several knitting projects featuring wool; and a page featuring several methods to knit heels of socks (!). Ullialt sponsored a “warm feet” contest, and published the winning sock knitting pattern, designed by Synnøve Smedhus (pictured). If you would like to see any of the other sections translated for the next Norwegian Textile Letter, let me know, at: lafleur1801@me.com. The images in this article are from the Ullialt pages.

When I contacted Sølvi Westvang about my translation, she enthusiastically updated me:

So much is happening in the Norwegian wool industry right now! Consumers growing consciousness is forcing through clearer marketing, more products and an increased focus on ecology. Most products are not labelled “eco” or “ecologic”, but our sheep grazes in the forests and mountains all summer long. They live free and eat ecologically most of their lifes. Norwegian farming is one of the safest and most transparent in the whole world. Every country in Europe use more antibiotics than we do on our farms!

In September there is a big festival in Seljord, Telemark. It’s calles Dyrsku’n and was traditionally a place to meet, show, sell and buy cows, sheeps etc. Today it is much more, and here you find arts and crafts, music, lectures, wool, Norwegian culture + + +. This year wool is the main theme of the handcrafts exhibition. Well worth a visit for all who’s interested in that sorts. https://www.dyrskun.no/

On our Facebook-page we update our followers on news from Norwegian wool: https://www.facebook.com/tydelignorskull/

I know that I and many of my fellow weavers in Minnesota appreciate Norwegian wool. For example, here is one of many skeins I ordered this month for a weaving.

Robbie LaFleur

Virgin Tapestries and the Bridal Theme

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By Randi Nygaard Lium

Editor’s note: The most-woven motif at the peak of medieval Norwegian tapestry weaving was the biblical story of the Wise and Foolish Virgins. The two rows of virgins with a highly patterned background are emblematic of Norwegian billedvev (literally, picture-weaving) and recognized by museum-goers worldwide, like this version owned by the Minneapolis Institute of Arts (MIA). Why did this image resonate with weavers of the era? We are grateful for permission to present this translation of Art Historian Randi Nygaard Lium’s expert analysis, which appeared in her new book, Tekstilkunst i Norge (Textile Art in Norway).

The most popular Norwegian medieval tapestry motif is, as earlier mentioned, the Five Wise and Five Foolish Virgins. The fundamental basis of the image is a representation of virgins who went out to meet the bridegroom. The background text is from Matthew, Chapter 25, Verses 1-13.

1 “Then the kingdom of heaven will be comparable to ten virgins, who took their lamps and went out to meet the bridegroom. 2 “Five of them were foolish, and five were prudent. 3 “For when the foolish took their lamps, they took no oil with them, 4 but the prudent took oil in flasks along with their lamps. 5 “Now while the bridegroom was delaying, they all got drowsy and began to sleep. 6 “But at midnight * there was a shout, ‘Behold, the bridegroom! Come out to meet him.’ 7 “Then all those virgins rose and trimmed their lamps. 8 “The foolish said to the prudent, ‘Give us some of your oil, for our lamps are going out.’ 9 “But the prudent answered, ‘No, there will not be enough for us and you too; go instead to the dealers and buy some for yourselves.’ 10 “And while they were going away to make the purchase, the bridegroom came, and those who were ready went in with him to the wedding feast; and the door was shut. 11 “Later the other virgins also came, saying, ‘Lord, lord, open up for us.’ 12 “But he answered, ‘Truly I say to you, I do not know you.’ 13 “Be on the alert then, for you do not know the day nor the hour. (These verses in English are from the New American Standard Bible.)

The motif was used in European visual art in the Middle Ages. When it became popular in Norway, the image spread through prints. In all the tapestries the virgins are woven in two horizontal lines, with the wise virgins uppermost and the foolish virgins below. The wise virgins proudly hold up their lamps. The foolish virgins hold handkerchiefs to dry their tears; their situations were difficult. They couldn’t have known beforehand how much time it would take for the bridegroom to arrive. This image shows the high demands made of young women. To be pure and innocent when the bridegroom arrived was not enough; they also needed to be alert and vigilant.

Along with the ten women in long dresses, men are woven in as side characters. It is interesting that the bridegroom is Jesus. In several tapestries the oil seller is placed in the lower right hand corner, and one tapestry even has the inscription “eros kiøbe” (eros purchase). This male figure has associations to something completely apart from virginity and purity. It is as if to purchase extra oil could be interpreted as having to do with prostitution. Therefore there are many layers of meaning to this theme. The tapestries were used as bedcovers, and as a beautiful covering for the marriage bed it was a reminder of moral demands.

In the oldest virgin tapestries from around the middle of the 1600s, the women are dressed in festive renaissance dresses, jackets with a high waist, and pleated collars. They often have crowns, and the long dresses are richly detailed, with a center section that resembles an apron. Behind the upper women you see architecture that looks like a city. The women are woven in two horizontal rows, one over the other, with a border between.

In the tapestries from the 1700s you see stylization and abstraction, which results in figures that are increasingly ornamental in their expression. The skirts, upper parts of their clothing, faces, and crowns create an ornamental whole. The inscriptions disappear, as well as the extra figures. The architecture behind the row of wise virgins is gone, replaced by decorative elements. The virgins’ lamps and handkerchiefs have disappeared, and with them much of the meaningful symbols of the story. Perhaps the message was forgotten over time, and when weaving a bridal coverlet the weaver perhaps followed a pattern she inherited.

Three original coverlets from 1760 from Bøverdalen have been preserved. The weaver was called the “bibelsprengte” weaver (the weaver who broke with the Bible), because she interpreted the motifs in her own style. Her unique tapestries included her rococo tapestry, Kristi forfedre (“Christ’s Ancestors”), and three identical Five Wise and Five Foolish Virgins tapestries, which included a whole row of accompanying figures. The three virgin tapestries were gifts for three sisters.

1760, Bøverdalen in Gudbrandsdal. Nordenfjelske Kunstindustrimuseum. Photo: Dino Makridis

Above the upper virgins is a whole new row depicting from the left: Joseph, Mary and the Christ Child, and the three Wise Men. On the right is Jesus, the heavenly bridegroom. Beside the virgins Jacob stands to the right in the upper row, and Joseph to the right in the lower row. The names of Jacob and Joseph are woven in.

This is an innovation of the virgin motif. The three tapestries from Bøverdalen aren’t rigid in the same manner as the other 1700s coverlets. Now the figures are freer and more lively, and they are clothed in elegant rococo clothing. “Christ’s Ancestors” is quite special, with many elegant men placed in diagonal rows up the tapestry. They wear a rococo costume with a long, narrow jacket in brocade, knee pants, and knitted stockings. The women have beautiful dresses—narrow in the middle, with a skirt bustling over a form. The weaver was well-acquainted with fashion of the day. In “Christ’s Ancestors” we find a rhythm and liveliness that is new in tapestries from Gudbrandsdal. Rococo playfulness and feminine elegance have made their marks?

Tapestries with the virgin motif were woven in the western part of the country, too, but were not as common as in the valleys of eastern Norway. The western virgin tapestries also had a unique expression, and were seldom the main motif of the tapestry. Virgins were often placed in the center of the tapestry, surrounded by borders and ornamental designs. The virgin motif was persistent in the area, and was woven all the way to the beginning of the 1800s.

A west coast virgin tapestry from the collection of the Norsk Folkemuseum. https://digitaltmuseum.no/011023130651/teppe

Virgin tapestries from Valdres and Trøndelag have been preserved, too. They echo the Gudbrandsdal tapestries, which shows that work from that area was an inspiration for weavers in both Valdres and Trøndelag. Many fine tapestry pillows from the 1700s are also found in Oppdal (in Sør-Trøndelag).

The virgin tapestries were used as wedding coverlets, and their symbolism signals moral expectations of the bride. That was indisputable and universally known. But it is less known that during that time marriage between a man and a woman was also a symbol of a woman’s bridal relationship to Christ, a marriage with spiritual meaning.

A young, god-fearing woman could enter into a spiritual marriage with Christ, dedicate her life to religion. In this way the purpose of marriage was both earthly and spiritual. Therefore Jesus was the heavenly bridegroom—and woven into the coverlets. The coverlets were religious beyond having just a moral point: they symbolized Christian purity and faith.

Marriage was holy and formed the basis of the church’s moral requirements. Among other things, there were rules about when a couple could make love. The rules were strict and difficult to abide by, resulting in guilt. The couple were not supposed to have sex on weekends or during holidays, or during pregnancy. The function of sexuality was procreation and furthering your family, not unfettered intimate relations; that was sinful.

At that time there was often a close relationship between individuals and the parish minister. The worship service was a time away from work and an occasion that helped support people in holding themselves faithful to God. The minister had a double function. From the pulpit on Sundays he was an authority who admonished those who listened about a Christian life without sin, and at the same time he was a spiritual provider from whom people sought guidance in difficult times. Perhaps it was also the minister a woman might visit to seek consolation when relations with her husband had been too lively or moving toward the forbidden. The guilt was difficult to bear alone, and her husband may not have been the easiest one to confide in under those circumstances.

Young women also had the opportunity to write a letter to the minister, called a “virgin letter.” However it wasn’t only unmarried women who confided in a minister; in Iceland a written confession is preserved from a young married woman who felt guilty because, according to church rules, she had an overly active sex life with her husband. The minister learned the most intimate details of the couple’s relationship in this confession.

Through his presence a minister was a sort of psychologist of that time. He gave penance and forgiveness for sins, and that helped women with issues they struggled with alone.

When we examine the many preserved coverlets with the virgin motif, we come to understand their meaning is about more than just the requirement to be a virgin when entering marriage. It encompasses also a holy marriage that required one to lead a religious life.

A Wise and Foolish Virgins tapestry owned by the Vesterheim Norwegian-American Museum. http://collections.vesterheim.org/items/show/561

Randi Nygaard Lium is a textile artist, author, and curator. Educated in Denmark, she has a degree in Art History from Aarhus University and studied weaving at Det Jyske Kunstakademi (Jutland Art Academy). She is the Senior Researcher at the Museum for Decorative Arts (Kunstindustrimuseet) in Trondheim, Norway. She was the Director of the Trondheim Art Museum (Kunstmuseum) from 1998-2011, and the Head Curator at the Museum of Decorative Arts, Trondheim, 1986-88. She has written several books on textile art, including Tekstilkunst i Norge (2016 and Ny Norsk Billedvev – Et Gjennombrud (1992). Her work has been shown in many exhibits in Norway and other countries, including a solo exhibition at the Design Museum Denmark in Copenhagen (2006). Her work is represented in several museums and in commissioned work in public buildings.

Book excerpt translated by Robbie LaFleur, who constantly runs into more depictions of the Wise and Foolish Virgins.

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National Exhibition of Weaving in the Norwegian Tradition, 2017: Even More Inspiration

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Since The Norwegian Textile Letter is published as an online newsletter, we can include ALL the entries in the annual National Exhibition of Weaving the in the Norwegian Tradition. Years ago, when print was our only choice, only a few photos of the top ribbon weavers were included. The non-ribbon winners are of high quality as well! Also, pieces submitted by weavers who have earned a Gold Medal in weaving are not eligible for judging. Enjoy these excellent and varied entries, too.

Gold Medalist Veronna Capone, from Brookings, SD, entered “Slowly/Light Grows/Then Closes,” a wall hanging in pick-and-pick technique.

Jan Mostrom, a Gold Medalist from Chanhassen MN, wove “Crossing Borders,” a wall hanging in Sjonbragd technique.

Melissa Brown, Decorah IA, wove a table runner in Monk’s Belt Technique.

Judy Ness, Gold Medalist from Eugene, OR, wove “Intention” bound weave rug.

Lisa Anne Bauch from Bloomington, MN, wove a rya wall hanging, “Three Little Birds.”

Meredith Bennett from Free Union VA, wove the rya “Confetti.”

Andrea Myklebust from Stockholm, WI, wove yardage in twill weave.

Nancy Ellison from Zumbrota, MN, wove a weavers flag in “Ja Vi Elsker (Yes We Love Wool).”

“Lars” the sheep was commemorated in Nancy Ellison’s wall hanging with natural fleece rya. Nancy (and Lars) live in Zumbrota, Minnesota.

Rosemary Roehl, a Gold Medalist from St. Cloud MN, wove “Fall,” in figurative bound weave.

Rosemary Roehl, Gold Medalist from St. Cloud, MN, also celebrated “Spring” in figurative bound weave.

See photos of the ribbon winners in this year’s exhibition, here.

National Exhibition of Folk Art in the Norwegian Tradition, 2017: Award Winners

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By Laurann Gilbertson, Curator

We have come to expect technical and artistic excellence from weaving entries in the National Exhibition of Folk Art in the Norwegian Tradition at Vesterheim. And once again, in 2017, we were not disappointed. The artists provided traditional and contemporary works in a wide range of Norwegian and Scandinavian techniques. Several artists included some interpretation to go with their works. Jan Mostrom’s wall hanging was woven entirely from yarn hand dyed with natural dyes, creating surprisingly bright colors. (See detail at left.) She wrote, “Weaving with these natural dyed yarns connected me with weavers of the past as I had to adapt if I ran short of a certain color of yarn. At times I used a different yarn and I occasionally had to change my original plan.” Nancy Ellison used natural wool locks from from Lars, a white Icelandic-Gotland cross ram in her flock, for a charming handwoven image of the ram himself. And Andrea Myklebust used flax she had grown and processed.

I had to interpret for one entry in the exhibition, a monksbelt table runner by Laura Demuth. It was displayed near the table where staff were stationed. When visitors read the label, they looked up at me and raised eyebrows or asked, “Why is it thanks to you?” Laura didn’t provide any explanation for the public, but I’m happy to share the story here. As Laura was planning a beginning weaving class for Vesterheim, she came to get ideas from the collection. She had decided on monksbelt and wondered what we had. We had several beautiful, but basic monksbelt coverlets, so I pulled a more “advanced” one at the end. From Lila Nelson’s personal collection, we have a monksbelt coverlet with four-sided border. The weaver changed from green on the edge to red for the center, while making a zigzag line between colors. It was the perfect challenge for an experienced weaver. I say thanks to Laura, and all the artists who helped make the 2017 exhibition a beautiful and inspirational show.

As a Gold Medal weaver, Laura’s piece was not part of the judging. She was on the other side of the table, serving as a judge for the exhibition, along with Doug Eckheart, Professor of Art (retired) from Luther College, Decorah, IA. Laura’s piece was still in the running for the annual “People’s Choice” award, and she won!

A blue ribbon was awarded to Corwyn Knutson, Roseville, MN, for “Nordlys,” wool Rya wall hanging. It was also awarded BEST OF SHOW. Congratulations, Corwyn.

Donna Laken, from Rockford, IL,won a red ribbon for “Simply Scandinavian,” a rug in bound rosepath.

A white ribbon was awarded to Kathryn Evans from Lena, IL, for a slit tapestry wall hanging. Slit tapestry is usually found in narrower bands. Her finishing techniques were original and beautiful, as seen in this detail.

Winnie Johnson received an honorable mention for her boundweave rug.

Helen Scherer, from Shawnee, KS, received an Honorable Mention for “When I grow up, I want to be like the Døvleteppe!,” a table runner in Vestfold technique.

Andrea Myklebust, Stockholm, WI, won an Honorable Mention for her linen table runner in block Damask technique. Andrea should get extra points for also displaying a carved distaff in the exhibition, writing, “I made this distaff for use on one of my spinning wheels. I’ve included a hank of my own hand-spun flax, which is the material used for this tool. It is an arrogant distaff because it is very tall to show off my long line flax.”

See entries from Vesterheim Gold Medal weavers and other entrants in this year’s exhibition, here.

Book Review: The Warp-Weighted Loom

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The Warp-Weighted Loom, by Hildur Hákonardóttir, Elizabeth Johnston, Marta Kløve Juuhl, Edited by Randi Andersen and Atle Ove Martinussen

(This book can be purchased through the bookstore of the Vesterheim Norwegian-American Museum.)

By Wendy Sundquist

I love books that turn out to be more than what you originally expected them to be. The Warp-Weighted Loom is one of those books. Over the years I have seen exquisitely fine fabric that Elizabeth Johnston has woven on the standing loom at Old Scatness in Shetland. I was able to handle the vararfeldur that Marta Kløve Juulh had in her possession on the Vesterheim Textile Tour in 2011. It was remarkably soft and lightweight, fitting into a cloth shopping bag. After these experiences, I was really looking forward to this new book.

This interdisciplinary book is a product of the main three authors’ research and weaving in collaboration with the Osterøy Museum and The Museum Center in Hordaland and others. It serves in part as a way to transfer and preserve the skills and knowledge within this traditional craft, which are truly our intangible cultural heritage.

The Warp-Weighted Loom is bound in a manner that is reminiscent of a bound book from the Middle Ages, with thick cardboard covers and no spine. The section-sewn binding makes this book incredibly accessible for reading and as a tool for instruction at the loom.

The book is written primarily in English and is divided into 3 sections. Part 1 is an introduction to the 1000 year history of the warp-weighted loom told by Hákonardóttir, Johnston and Kløve Juuhl from their individual country’s perspectives of Iceland, Shetland and Norway. Part 2 is a practical handbook that includes how to make, operate and weave on a standing loom. This section includes detailed photos, and step-by-step instructions that are written in English, Icelandic and Norwegian. It also covers some of the textiles traditionally produced on these looms, how to reproduce them, and an overview of spinning. Part 3 is dedicated to research on a broad range of topics by several different authors. Topics include The Loom in the Grave, Icelandic Textiles, Finishing Cloth in the Sea, Taatit Rugs, Weaving in the Dark, Safeguarding an Intangible Cultural Heritage and more.

The Warp-Weighted Loom is a remarkable book on so many levels. It undertakes the preservation of women’s history as it relates to weaving and wadmal production within the North Atlantic cultural heritage. But more importantly, it recognizes and addresses that the “knowledge of old crafts will be lost, if not maintained; the only way to do so is to conserve them, promote them and teach them.” (Sigridur Sigurdardottir p. 267)

This book is a must have for any serious weaver or student of Nordic textiles. It is a joy!

Wendy Sundquist is a knitter, spinner, natural dyer, and weaver with a life-long passion for Scandinavian textiles. She currently shepherds a geriatric flock of Shetland sheep on Whidbey Island in Washington state.

A Synopsis of the History of Norwegian Tapestry – and Some Thoughts about Tapestry Today

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Editor’s note: The text of this article, by noted artist Unn Sønju, first appeared in a special issue of the Norwegian magazine, Lokalhistorisk magasin (Local History Magazine). The special double issue, 1-2, 2016, was devoted to articles on the theme of “Kunst og Husflid” (“Art and Handcraft”).

By Unn Sønju

Any weave is the interaction between the masculine warp and the feminine weft that create a cross, an ancient symbol for creation. Tapestry is one of the oldest art forms know to man. Unlike other two-dimensional art forms it has the unique property of having the image on both sides of the material. Only the simplest tools are required to weave on short or long lengths of warp.

The Oseberg tapestry fragments

Norway is fortunate in having tapestries from different periods in its history. Through these we can learn a great deal of social and art history, and last but not least, women’s history. The oldest pictorial weaves were found in the Oseberg Viking ship, buried around 850 and excavated in 1904, near Tønsberg in Vestfold. About this find, Bjørn Hougen wrote in 1940, “Tapestry and woodcarving, in these two words lies the starting point for an entirely new perspective that the Oseberg ship has given to the art history of the Viking Age.”

Oseberg fragment, Universitets Oldsaksamling, Oslo

From the first, the woodcarvings were treated with great respect, while the tapestry fragments received shamefully poor treatment. The tapestry fragments were in poor condition, appearing almost black and encased in clay and feathers, pressed together into lumps. During restoration it appeared that they were between 16 and 32 centimetres in height and thought to have been hung as long strips.

As early as 1916 four volumes of all the Oseberg finds were planned. Three volumes of all the finds, excluding the textiles, came in quick succession; the fourth on textiles took nearly 100 years before it was published in 2006. However in 1992, The Oseberg Queen’s Grave: Our national Treasure in a New Light (Osebergdronningens grav-vår nasjonal skatt i nytt lys) was published. Anne Stina Ingstad wrote that the textiles found in the burial chamber of the Oseberg ship are “without comparison in Nordic pre-history.” She points out that the tapestry fragments are by far the most important examples of the collection. With such a history isn’t it strange that these tapestries have been so overlooked and exhibited so infrequently?

Baldisol Tapestry

Baldishol Tapestry. Image from Wikipedia: https://no.wikipedia.org/wiki/Baldisholteppet

The next outstanding work is the Baldisol tapestry from circa 1200. After the demolition of the Baldisol church in 1887 an auction of the contents of the old church was held. An observant woman bought a dirty roll of textiles that she soon found were something extraordinarily special. With utmost care she washed the textiles, revealing images of two calendar months: May representing a man in a long smock sowing seed, and April as a young warrior in full armour riding a virile stallion. Both are depicted in an archway with a decorative background of birds and spots. The tapestry is torn at either end, indicating it could be part of a larger work, perhaps the whole calendar year. In all likelihood it was a long frieze, a beautiful tapestry in the Romanesque style. What is it that is so amazingly enchanting about the Baldisol tapestry? Its strength and clarity of colour and the total wholeness of its drawing and composition gives us a compelling image. With some knowledge of Romanesque art we can imagine how the other months might have been depicted. If we imagine a tapestry of twelve months length it may have been woven for Hamar Cathedral that was completed around 1200.

The Middle Ages

“Adoration of the Magi,” signed M.I.D & A.H.D, Gudbrandsdal

Between the Baldisol tapestry and 1550 there exists no evidence of Norwegian tapestries. This was a period of great hardship with 60% of the population dying of the plague, resulting in the collapse of society.

It was in the Middle Ages that many of Europe’s finest tapestries were created. Only long after this great interest for tapestry had reached is zenith there, did it eventually come to Norway, where the golden age of tapestry occurred between 1550 and 1850.

Norway had neither a tradition nor interest for painting and sculpture as in other countries in Europe, but tapestry flowered! Interest and knowledge of tapestry came first to the coastal towns and gradually spread to the rest of the country. In the eastern districts around Kristiania (now Oslo) figurative motifs were common, many from bible stories. On the west coast of Norway tapestry developed abstract and geometric imagery, while north from Trondheim ‘rya’, a tufted weave, was common that was well suited for bedspreads at home and on their fishing vessels. The Sami people had their own ‘grenvev’, literally ‘branch weave’ or weaving over a tree branch, making dynamic striped black and white tapestries.

Because Norway was a poor land that had neither a royal court nor aristocracy, women were given the opportunity to weave in small workshops. In the great tapestry workshops in Europe women were not invited to weave but could spin, tie loose threads and sweep the floors. In Norway it was an opposite situation. It was women who were the weavers, which led to a charming difference as their tapestries became more and more removed from their original prototypes. These female weavers created tapestries where women were the central motif, often derived from biblical sources.

An abstracted version of the Wise and Foolish Virgins woven by an unknown woman in Western Norway between 1750 and 1800. http://samling.nasjonalmuseet.no/no/object/OK-17392

New Flowering for Norwegian Tapestry

After 1850 tapestries were seen as being old fashioned and uninteresting as painting and sculpture became the leading art forms. At the end of the century there was a growing interest in Norwegian nationalism and folk culture renewing interest in the old tapestries. These tapestries were exhibited in museums and galleries at home and abroad and this encouraged a new interest in weaving and tapestry. Weavers who previously were anonymous were now known by their own name and were recognised in society as artists. Frida Hansen was the first who received international recognition, followed by Hannah Ryggen, Synnøve Anker Aurdal, Jan Groth and an increasing number of tapestry artists since the 1970s.

Hannah Ryggen. “Vi Lever på en Stjerne.” (“We Live on a Star”)

Today there are a large number of artists who have chosen tapestry as their prime form of expression. Tapestry is a natural part of the Norwegian and international art scene that becomes continually broader in its scope of media and expression due to education and advances in technology. Today a tapestry can be totally realised from idea to finished product by the use of data programming. A fine example of this is the theatre curtain designed by Pae White in the Opera House in Oslo. Today tapestries are to be found in many public buildings the world over, as indeed are books, showing the work of outstanding tapestry artists. Large group and travelling exhibitions bring to the public the latest ideas and developments in tapestry art. In Norway in the 1960-70s tapestry was much sought after and now, in the past few years, there is renewed and exciting interest.

To renew an old craft is both a challenge and a responsibility. If tapestry no longer mirrors and reflects its contemporary society it soon loses any interest and quickly becomes neglected and indifferent. Tapestry, like all visual art, can be divided into three stages: idea, craft and form/presentation that must work together for a convincing totality. The idea is the springboard and energy, through craft and technique the idea becomes an object, and the form is the final presentation.

Thread on thread, patience and concentration, such is the artist’s wonder and experience in the creation of a tapestry.

Translation of the original article from Lokalhistorisk magasin was provided by the author, Unn Sønju.

Unn Sønju was born in 1938 in Oslo, Norway; she currently lives and works in Oslo and Flesberg, Norway. She was educated at Leeds College of Art, England (1957-59) and the Women’s Industrial School, Norway (1960-62). She was a lecturer in Experimental Textiles in the Department of Fine Art in Leeds from 1965-77, and Tapestry Professor at Oslo University College from 1999-2005. She has been featured in 32 solo exhibitions in Scandinavian and Great Britain, and participated in over 100 group exhibitions worldwide. 39 of her tapestries appear in public spaces.

Learn more about the author’s work in tapestry in another article in this issue:, “Influences in my Art: Reflections,” and at her website, unnsonju.com.

Influences in my Art: Reflections

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By Unn Sonju

Oseberg fragment, Universitets Oldsaksamling, Oslo

The tapestry fragments from Oseberg have always been of central interest to my work. They are both mysterious and revealing. The early Vikings wove long, narrow lengths depicting events that were important in their lives. The technique is so antiquated and complicated, the threads being so thin and closely woven that I doubt if anyone could hand weave so finely today. These tapestries are thought to have decorated the walls in the Viking long houses. Thinking about these tapestries it suddenly occurred to me that weaving long lengths is fundamental to the loom.

This discovery encouraged me to make long, narrow tapestries depicting events central to my life, some being 15 to 20 metres long.

“Running Hare,” 1993

The Baldishol tapestry is woven in a technique very similar to the way I weave today. The images are bold and clear, one depicting Man and Nature the other Man the Warrior. So much of my work is either gleaned directly from nature or is an outcry against man’s warring violence and destruction.

Unn Sønju, “Blood cannot be washed out with blood,” 2010. Wool on wool warp, 280 x 250 cm.

My first art education was at Leeds College of Art, England. There I found myself at the centre of an art educational revolution where the emphasis was on an analysis of the constituent parts of art rather than the academic tradition. Here the idea was placed above craft and technique, innovation and imaginative leaps encouraged. It was unconventional thinking about the nature and creation of art that has patterned my thinking, teaching, ideas and actions to the present day.

“Aroma of Marshland,” 2017

After Leeds, by chance I heard on the Norwegian radio a woman speaking about ‘piss blue’, her beloved indigo dye. This was the voice of Hannah Ryggen, an outstanding artist and tapestry weaver. I didn’t know of her, or her art. It was the passion she conveyed in telling about the trials and tribulations suffered in order to make her own ‘indigo blue’ that spurred me on to learn tapestry. In order to do this I enrolled in a course in tapestry at Den Kvinnelige Industriskole (The Womens Industrial School) in Oslo. In contrast to Leeds, here the emphasis was entirely on craft and technique and only the Norwegian tapestry tradition.

The early 60’s found me engaged fulltime with tapestry yet it would take almost 20 years before I really discovered the unique plastic qualities of tapestry. The ‘Eureka’ moment came when I understood that tapestry had two sides! The image was on both sides of the material, one image being the mirror of the other! This opened up a horizon of possibilities in both 2 and 3 dimensions. I found that the tapestry material could be twisted, knotted, turned and could move in any direction, the aim being always to clarify my fundamental visual idea.

“The Sea is Waving,” 1989

Unn Sønju, May 17, 2017

Unn Sønju was born in 1938 in Oslo, Norway; she currently lives and works in Oslo and Flesberg, Norway. She was educated at Leeds College of Art, England (1957-59) and the Women’s Industrial School, Norway (1960-62). She was a lecturer in Experimental Textiles in the Department of Fine Art in Leeds from 1965-77, and Tapestry Professor at Oslo University College from 1999-2005. She has been featured in 32 solo exhibitions in Scandinavian and Great Britain, and participated in over 100 group exhibitions worldwide. 39 of her tapestries appear in public spaces.

Enjoy these additional tapestries included below, and learn more about the author’s work at her website, unnsonju.com.

“Unopened Letter,” 1981

“Sky Pockets,” 1996

“Guantanamo,” 2009

“Greenhouse,” 2007

“Bathers,” 1975

Wisdom and Folly: Norwegian Pictorial Textiles

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This beautifully written and illustrated article on Norwegian billedvev (tapestry) by Jo Nilsson is from the January 1998 issue of HALI Magazine, and reprinted with the permission of the publishers. THANK YOU, HALI Magazine.

The author discusses Norwegian billedvev within the context of European tapestry development, the looms used, and the popular images depicted on the tapestries. She adds interesting cultural history; for example, she discusses the use of tapestries as coverlets for the bridal bed.

“Troels-Lund’s studies of daily life in the Nordic countries during the 16th century provide us with detailed information about the bridal custom known as “mounting the bed,” in which newlyweds were required to lie on the bridal bed while a speaker delivered a lengthy talk. The couple would generally lie down fully clad in the bed and draw the coverlet over themselves while the wedding assembly watched. By the 17th century the practice was modified in many areas, with the couple sitting on the bed while a guest, relative or priest spoke about the ‘Flemish’ coverlet draped over it; presumably the tapestry had a Biblical theme.”

Apparently some Norwegian wives didn’t say, “Kjæreste, pass på teppet (Sweetheart, watch out for the coverlet),” when their husbands laid down for a nap. Nilsson wrote, “A textile restorer at Maihaugen Museum in Lillehammer noticed worn areas in the same places on many coverlets and suggested that they were caused by husbands taking midday naps on top of the coverlet while wearing knives on their belts. The coverlets were probably placed on the bed during the day and removed at night.”

Again, we can enjoy the article thanks to the reprint permission from HALI Magazine.

Malin Lonnberg, Assistant Editor at HALI, wrote, “Last year we digitised our whole archive of back issues, meaning that subscribers can now access what we call the HALI Archive online. All the back issues are searchable, which is handy for those with specific textile interests (say Scandinavian textiles). HALI subscribers now get full digital access to the HALI Archive, featuring every HALI since 1978. For only £60/€88/$120, subscribers receive four printed issues of HALI a year and fully searchable access to over 189 editions. See www.hali.com for more information.”

Download pdf here.

Note: the file is large, but needs to be, for the best representation of the beautiful photographs. Also, the print is quite small. The original is larger than standard 8-1/2 x 11 paper, so the article is reduced in scale.