Future of Folk Art

The Past/Present/Future of Folk Art
Vesterheim Norwegian-American Museum
July 11, 2025 – January 11, 2026

This juried folk art show celebrates the past, the present, and the future of Norwegian folk art in the United States and abroad. Contemporary artists submitted pieces to honor folk art masters of the past; draw inspiration from contemporary culture bearers; explore what folk art might become in the future; or play with some combination of past, present, and future all in one piece. A good portion of the exhibit featured fiber in many techniques, 21 pieces out of 103 works.

Below are photos and artist information for all of the fiber-related entries. The stories will deepen your admiration for the beautiful crafted works. And you have several months to catch the exhibit in person.

Susan Griebling
Blue Ash, Ohio
“Naturally Dyed Krokbragd Rug”

I began knitting as a child and have studied many forms of folk art, most recently weaving. I am drawn to the weaving patterns available using the Norwegian structure of krokbragd. I have used this weaving structure to weave samplers in the past.

I have a particular interest in Norwegian rug designs. I was gifted white rug wool and decided to use it to create a rug using the beautiful patterns found in the krokbragd weaving structure. In 2023, I visited Vesterheim to see the krokbragd coverlets, which inspired me in color and size.

I dyed the white wool using cochineal, indigo, and weld, resulting in two shades of each color (pink, blue, and green). I taught myself the technique from Debby Greenlaw’s book, Krokbragd. I didn’t plan the design before weaving; instead, I let inspiration guide me as I created the patterns.

Elizabeth Hunter
Kennebunk, Maine
“Deforestation” Rya Weaving

I started weaving on an inkle loom when I was ten. In the 1970s, I spent six months at Friuntervisnig’s Tegne og Vevstue in Oslo. I concentrated on rya technique at Hemslojden Skåne, folk art school and Landskrona, Sweden. I also studied in Iceland and Faroe Islands.

Rya rugs date from medieval times when they were used by mariners against the frigid cold at sea. They’ve been used as carriage blankets and inside homes without central heat as bedding. Their bold, graphic colors and design were a signature of the mid-century Scandinavian modern era. I am using the rya technique for social comment. Here, Deforestation is one of a three-rug series I did on climate change.

Robbie LaFleur
Minneapolis, Minnesota
“Majesty Returns” Transparent Weaving

Robbie studied weaving at Valdres Husflidsskole in Fagernes, Norway, in 1977. She received a Vesterheim Gold Medal in Weaving in 2006. She received an American Scandinavian Foundation grant in 2019 to study the wool open-warp transparent tapestry technique of Norwegian artist Frida Hansen.

Frida Hansen (1855-1931) was influential in the revival of Norwegian billedvev (tapestry), and her technique had many elements in common with historical tapestries, including clear, abstracted pattern areas, and the use of Norwegian wool. She often wove birds!

My contemporary American bird is a symbol of success of federal regulations that banned the DDT that threated the eagle’s existence. The eagles seen by the first Norwegian immigrants disappeared from the skies for decades. Now they soar over the countryside and cities.

Siri Bergløff Berrefjord
Hønefoss, Norway
Embellished Jacket

My education and inspiration of Norwegian folk art comes from objects. I worked as a photographer for antique auction houses in Oslo, Norway. There I had the privilege of seeing and touching thousands of objects in a variety of materials.

I work intuitively. Merging the richness of peasant culture in colors and details with new materials, adding new life to traditional expressions. I want the time spent visible in my art. Nowadays time itself has become a scarce commodity. Looking at previous eras, our relationship with time becomes a paradox.

Before, people worked more, spent more time on everyday tasks. Yet they spend an incredible amount of time on decoration. What is time in such a context? For me, it is an expression of care, of sustained attention and love. When things are thoroughly processed and have had time and attention, only then can they reach their potential. I deliberately use a few expensive and exclusive materials. It is about selected, correct materials – that suit the nature of things, and then it is the time, the duration, that gives my work its exclusivity.

Mike Ellingsen
Decorah, Iowa
“Nordic Flower Basket” Wall Hanging

I have been a hobby quilter for over 40 years. While I do teach, lecture, and design patterns, I do not sell my quilts or do quilting for hire. While quilting is itself a folk art, moving to Decorah in 2019 brought me closer to Vesterheim – allowing me to see the possibilities in interpreting classic Nordic folk art forms (basketry, weaving, textiles) into the more American folk art of quilting.

This 3D wall hanging is based on a basket from the Vesterheim collection. I worked to replicate that woven basket for the base but added a more contemporary handle. When creating the flowers, I started with those that were traditionally grown in Norway (crocus, daffodil, pansy, tulip), and then added those that are less common but could be grown in that climate (poppy, rose, tiger lily). The background quilting is a continuous loop that is reminiscent of contemporary rosemaling.

Julia LeKander
Batavia, Illinois
“Weaving with Stitches and Paint”

Scandinavian folk art has been at the center of my artistic practice since childhood. I remember spending summers at Swedish camp weaving on floor looms and taking classes with my mother to learn rosemaling. I’ve applied skills learned in these classes to my own art, in both traditional contexts and contemporary interpretations.

This work explores the intersection of paint, needlework, and weaving, creating the illusion of weaving with paint and cross-stitch, neither of which are woven but are both embedded into a woven substrate. Paint strokes made with a dual-loaded paintbrush, the same technique used in rosemaling, are painted directly onto the cotton textile. Vertical lines of cross-stitch are then added, alternately stopping at the edges of the paint and stitching through the paint to create the woven illusion. The cross-stitch “warp” includes multiple shades of floss to create a gradient like the painted “weft,” furthering the trompe l’oeil effect. Inspiration for this piece includes needlepoint patterns designed during the mid-1900s for the Norwegian needlepoint company Gunnar Pedersen, as well as Sigmund Årseth’s unique, modern interpretations of traditional rosemaling.

Carol Charette
Newberry, South Carolina
“Håpets Reise” (Voyage of Hope) Weaving

My parents were of Norwegian ancestry, and I have learned all kinds of weaving techniques including Norwegian krokbragd or boundweave. I am fascinated by exploring colors and combinations.

Most ship sails 200 years ago were of flax and linen and handsewn. It is fascinating how much work went into sailmaking. I took interest in the voyage that the Norwegians took across the Atlantic Ocean in 1825. I imagined the huge waves and white caps. This tiny ship being a home for 14 weeks, the people wondering and hoping to make it to America. The people who made the journey were heroic.

Carolyn Pieper Benforado
Madison, Wisconsin
“Small Tribute, Big Idea: the Stoughton Bunad”

I am a textile artist and clothing designer. I began making folk costumes for elementary school students and now assist with making them for a local Norwegian dance group.

The tradition of wearing a bunad (Norwegian national costume) flourished in my hometown of Stoughton, Wisconsin. I wanted to honor Marion Keebaugh, who designed a bunad for Stoughton. Rosemaling by Ethel Kvalheim was used for the breastplate. This bunad celebrates the ongoing heritage brought from Norway and blends it with the American hometown.

Stephenie Anderson
Fosston, Minnesota
“PÅL-INBÆR’s Laptop Bag”

I have been knitting ever since my grandmothers taught me to knit more than 50 years ago. More recently I have been deep diving into Norwegian knitting as well as many other Scandinavian handcrafts.

The knitting in this bag was highly influenced by PÅL-INBÆR’s mitten. This mitten can be seen in “Selbu Mittens” book. The rose in the mitten is still named after her. Her mitten also had a version of the line dance in the cuff; I used it as a base for the knitting. The dog/horse in her cuff I incorporated into the sides. The sides also have a more traditional version of the Selbu Rose. True to the bags of her time, I put my initials and the year on the bag (sides). This bag will carry her mitten design and my current laptop into the future.

Laura Berlage
Hayward, Wisconsin
“Zoomorphic Seahorse” Textile

I am a folk-art instructor for Vesterheim, focusing on a variety of fiber art mediums, but my first love is tapestry weaving. I first learned embroidery from my mother as a pre-teen and have more recently been branching into wool embroidery with both English and Scandinavian influences.

This was a fun, experimental piece I made while starting to dream up future classes. I was interested in taking a traditional design but interpreting it in stitches both ancient – like stem stitch – and new like using ultra punch needle. The piece is full of texture and different height stitches, intertwined like our stories and histories.

Juli Seydell Johnson
Iowa City, Iowa
“Treasure from a Trunk” Quilt

As an adult, I connected through Vesterheim with my Norwegian heritage while also learning folk art. I experiment across mediums, often using something I learned in a class to make something completely different once home. I like that I am sharing snippets of Norwegian history through the art that I create.

I took pictures of a trunk from Rogaland in Vesterheim’s collection. I used the design as a basis for an appliqued quilt. The quilt applique is made from recycled denim jeans and flannel work shirts. I use hardworking farm materials from the past to honor that past in a new, contemporary beautiful design, just the hard work of our Norwegian ancestors on Midwest farms led to our lives today.

Jan Mostrom
Chanhassen, Minnesota
“Remembrance” Weaving

I have been weaving since college, when I took a January Term class at Luther College that was taught by Lila Nelson. That was the beginning of my love for weaving and for Vesterheim. I have taken and taught many classes at Vesterheim and enjoy Vesterheim Textile Study Tours.

I wanted to create a piece using several Norwegian weaving techniques in combination, resulting in something new yet based in historical textiles. I combined rutevev (square weave), krokbragd (boundweave), inlay, tapestry, and rya (pile weave) techniques and used colors not usually combined in older pieces. Building on traditions and using them in new ways keeps the old techniques living and growing.

Sandra Somdahl
Decorah, Iowa
“Nature – Our Past, Our Present, Our Future” Weaving

I’ve always loved working with fiber, but it wasn’t until adulthood that I began weaving. Moving to Decorah brought Norwegian weaving into my life. I fell in love with the designs, colors, and the unique ability of folk art to bring beauty to everyday objects.

Nature always was and always will be bound up with weaving. Our Viking ancestors used what they found in nature to weave and what they saw in nature for design and color inspiration. The items woven were practical but also beautiful to bring the beauty of nature into their lives and homes. Centuries have passed, the need for making practical items is less, but our need for expressing our love for the beauty of nature is the same. So now we weave with our hands what we feel with our heart and see with our eyes. Yarns, dyes, and patterns come from around the world. The nature around us, however, will still be daring us to take new items and try to create something as beautiful as it is. And we, mere mortals, will still feel the need to try.

Rebecca Utecht
Ogilvie, Minnesota
“Frankie’s Legacy” Hide with Skinnfell Printing

My folk-art journey began in 1998 when I started making psanky (Ukrainian eggs). I first heard about skinnfell from a Swedish felting student in 2016. I was drawn to skinnfell because, like pysanky, it uses symbolism to promote goodwill to the receiver. I was fortunate to study with Britt Solheim at Vesterheim in 2019, and I continue to study this beautiful folk art.

This large Gotland cross sheepskin is from a lamb born into my flock right after my mother passed away. I named him Frankie in honor of her (Frances). His long lustrous locks were used in my fiber art for years. When he passed away, I had his hide tanned. I was happy the finished skin was smooth enough to print. The skin is large, and it is washable. I hand-stitched patches on the small holes and after much contemplation, used traditional skinnfell colors (grey and red) to print it. I made sure to incorporate the five traditionally required elements of skinnfell in my choice of motifs: plants, animals, sun, water, and love/protection.

Shan Rayray
Puyallup, Washington
“Mixing the Past with the Present with Hardangersøm”

My “aunt” (great-great-grandmother’s sister-in-law) visited when I was a young girl in 1977. She spoke no English, but taught hardangersøm to me in the traditional way. I continued the art as I grew. I began teaching in 2019 and for Vesterheim in 2021. Teaching at Vesterheim has allowed me to share and grow my art, from teaching basic stitches to recreating older pieces and gaining inspiration from them.

This piece represents the past combined with the present as it is using colored fabric with colored threads and mixing common past stitching techniques with techniques more widely used today. The kloster blocks, dove’s eyes, picots, and eyelets are stitched in traditional white thread and are the traditional stitches of Hardanger embroidery along with woven bars and cable stitching which I stitched in the more modern light grey thread. I then added in stitches commonly used today including adjoining Algerian eyelets (in both white and grey threads) and adjoining wrapped bars finishing with a lacy edge (in light grey thread). The lacy edge is basically the older technique of woven (or wrapped) bars, but I used it as a finishing edge instead of a filling stitch.

Shan Rayray
Puyallup, Washington
“Honoring the Past with Hardangersøm”

My “aunt” (great-great-grandmother’s sister-in-law) visited when I was a young girl in 1977. She spoke no English, but taught hardangersøm to me in the traditional way. I continued the art as I grew. I began teaching in 2019 and for Vesterheim in 2021. Teaching at Vesterheim has allowed me to share and grow my art, from teaching basic stitches to recreating older pieces and gaining inspiration from them.

This is a replica of a piece in the collection of the Scandinavian Cultural Center at Pacific Lutheran University. It is worked on 25-count linen fabric with DMC Pearl Cotton thread. The stitches are traditional including kloster blocks, woven bars, dove’s eye, spokes, and buttonhole edge. This piece represents the past as I wanted to honor the older ways of Hardanger embroidery by using white stitch thread on white fabric or in this case, ecru thread on ecru fabric and stitches commonly used in years past.

Renee Thoreson
Rochester, Minnesota
“Christmas is Here!” Doily

I began stitching at age three learning basic techniques. I moved on to the proverbial potholders and samplers. When I was given a 100-year-old hardangersøm band, I was intrigued and kept it on my dresser. I taught myself (as a “lefty”, this wasn’t easy) and have been hooked ever since!

Long ago, this embroidery style flourished in the Hardanger Fjord. Immigrants brought it to American, and the craft nearly became extinct until its revival in the 1960s. Originally, Hardanger embroidery was done in white or cream on linen fabric. In my piece, I continue the tradition, use modern style, and look to the future.

I belong to a Facebook group whose members include designers and stitchers. Roz Watnemo (one of the founders of Nordic Needle in Fargo, North Dakota) offered her the original pattern which I purchased and stitched. What appealed to me was the non-traditional shape and the bright colors. I deviated from the original pattern by adding my own stitch patterns and beads.

Hege-Renate Nilsen
Birtavarre, Norway
“Gobbagahpir” (Woman’s headpiece)

I am a Sámi doudjar (handcrafter/artist) with great interest in the traditional crafts of Sápmi, the traditional Sámi homelands. I use old techniques and methods in my work. I am the owner of the Sámi trademark “Sámi Made and Sámi Duodji.” I have been working with this since the 1990s. I am committed to passing on knowledge that is almost gone in the coastal areas of Sápmi.

The headpiece for costal Sámi women has been gone from use since the 1920s. It has been reconstructed for the present and will be visible and used in the future as a sign of our culture.

Carol Colburn and Kala Exworthy
Duluth, Minnesota, and Minneapolis, Minnesota
“Busserull til Blomsterhagen” (Busserull for the Flower Garden)

Carol was introduced to the world of Norwegian textiles and clothing as a Vesterheim intern in 1974 while a graduate student in Art History and Textiles and Clothing at the University of Minnesota. Finding inspiration in everyday rural clothing of Norway, she is interested in studying historic garments and making contemporary garments of handwoven fabrics.

Kala learned to weave at Skiringssal Folkehøyskole in Sandefjord, Norway in 1980. She finished her BFA in Fiber Art at Northern Michigan University. Now, she creates handwoven fabrics for garments and interiors. She enjoys teaching anywhere she can share weaving, dyeing and sewing.

The busserull is a loose overshirt for fishing, forestry, and farming. The pattern of squares and rectangles uses woven fabric economically, making a shirt which allows a full range of movement. A common fabric choice for over 150 years has been striped cotton or linen in twill or plain weave – in colors of blue or red with white stripes. Our “Busserull til Blomsterhagen” reflects these well-loved rural garments, and is a contemporary interpretation crafted for outdoor work in the summer flower garden.

Kala’s handwoven fabric has stripes similar to the familiar busserull fabric, highlighted here with bright blue and green. Combining twill and plain weave gives this fabric variation in texture and a fluid drape, the shirt moving beautifully when animated while gardening. Carol’s enthusiasm for gardening guides her patterning, pocket design, and sturdy sewing by hand and machine. It is a shirt meant to last a lifetime.

Sallie Haugen DeReus
Leighton, Iowa
“1825 Story in Stitches” Tapestry

I was awarded a Vesterheim Gold Medal in Rosemaling in 1994. My B.A. is in Applied Art from Iowa State University, 1961. I have taken many rosemaling classes with both American and Norwegian instructors.

The linen used for the tapestry is a 60-year-old roller towel inherited from my in-laws and used here on my family farm. The wool yarn is from Norway. The two leather tabs for hanging are from a deer that my father shot more than 50 years ago.

The tapestry is in three 3 frames and is to be read from right to left as this was the direction east to west that the immigrants traveled. Each frame is divided by a post. The beginning post on the right margin signifies winter, 2nd post spring, 3rd post summer, and 4th post fall. Please note the humor in each frame.

Frame One: Norway, land of the midnight sun and fjords. A government supported minister is peeking out from the doorway of the stave church as he watches the Quakers leave. The script is a revision of a poetic piece by Oliver Wendel Homes: “Where we love is home. Home that our feet may leave but not our hearts. The chain may lengthen but it never parts.”

Frame Two: The crowded ship to America. 54 souls plus one hanging over the back of the ship, seasick. That would have been me!

Frame Three: Corn and wheat representing the first crops. A church and school bell depict the immigrants’ ties to religion and education. One apple tree humorously represents the beginning of their religion and the second is for the teacher. The clock is the personification of time to indicate the future continues to evolve as does the story of Norwegians in America.

Priscilla Lynch
Saugatuck, Michigan
“Leaves and Blossoms” Transparent Weaving

All my grandparents immigrated to the U.S. in the early 1900s, so my childhood was filled with Norwegian traditions, food, and craft. When I started weaving in the 1970s, it was natural for me to study and emulate Norwegian weaving techniques and design. I have two large tapestries in the Vesterheim collection.

I was inspired by a Japanese stencil design to create this weaving using Norwegian weaver, Frida Hansen’s transparency technique. I grew up in Japan, so it was a way of uniting my Japanese and Norwegian worlds, illustrating, I hope, the connectivity of our global textile traditions.

Priscilla Lynch
Saugatuck, Michigan
“Høst” (Autumn) Transparent Weaving

Frida Hansen was part of the Art Nouveau movement. I have re-interpreted a typical design from that period using a Norwegian technique and wool as my medium. Our artistic past continues to inform my present and future work”

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The Scandinavian Weavers Study Group Keeps Traditional Weaving Vibrant

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By Lisa-Anne Bauch and Robbie LaFleur

For more than 30 years, members of the Scandinavian Weavers Study Group of the Weavers Guild of Minnesota have studied the traditional weaving techniques first brought to Minnesota by Scandinavian immigrants. The Study Group brings together weavers who have an ethnic connection to the nordic countries, or an affinity for the deep range of Scandinavian weaving techniques and patterns. “I don’t even speak Norwegian,” a member of the study group might say, or “I don’t even have any Scandinavian heritage.” Yet joining the group gives them fluency in the language of the Scandinavian loom – words like Telemarksteppe, krokbragd, skillbragd, Vestfold, and danskebrogd. These are all Nordic techniques and patterns with centuries-long histories, still woven in the 21st century.

Our group celebrated more than thirty years of study with an exuberant exhibit of more than 50 works from January 31-April 6, 2025, at Norway House in Minneapolis, Minnesota. Vibrant Tradition: Scandinavian Weaving in the Midwest was part of the year-long Norway House celebration of the 200th anniversary of Norwegian immigration to America. The exhibit was accompanied by a variety of programs including weaving demonstrations, classes, and guided tours.

The Scandinavian Weavers are one of several interest groups at the Weavers Guild of Minnesota. Guild interest groups form around specific weaving techniques, equipment, and materials to provide opportunities for in-depth study, mentorship, and creative challenge. In addition to the Scandinavian Weavers, current interest groups include the Dobby Weavers, SAORI Weavers, Rag Rug Weavers, Portable Loom Weavers, the Banditos (Band Weavers), NOW (New and Occasional Weavers), and the spinning group Whorling Spinsters, among others.

The current Scandinavian Weavers Study Group is one of the oldest groups at the Guild, and grew out of an earlier group of Minnesota weavers, De Norske Vevere, sometime around 1980. In recent years the reach of the group has grown considerably. The advent of video conferencing now allows members from outside Minnesota to participate in monthly meetings, learning opportunities, and exhibits. The group’s blog reports news of group activities to readers across the globe. Recently, the group was surprised to find ourselves mentioned by the Norwegian Crown Princess Mette-Marit, herself a weaver, in an interview in the folk art magazine Norsk Husflid. With permission from the magazine, we made a poster to include in our exhibit. (View the poster.)

In addition to individual experimentation, the Scandinavian Weavers also choose an annual topic for in-depth technical study. As part of group study, members wind on a long warp on a loom at the Weavers Guild so that interested members can try their hand in a supportive atmosphere. When challenges arise, as they always do, group problem-solving begins. The process also provides the joy of seeing the same technique worked in a variety of color combinations, weft materials, and personal interpretations. Vibrant Tradition featured weavings from several group projects, including traditional coverlet techniques from the Telemark region of Norway as well as a Swedish pattern charmingly called Kukkoladräll.

The Vibrant Tradition celebrated the Scandinavian Weavers’ longstanding programs, including education, mentorship, group projects, exhibits, and collaborations with other organizations. Several group members studied weaving in Norway and other Scandinavian countries through weaving schools and private study, while others have taken classes with visiting teachers at American institutions such as the Weavers Guild of Minnesota, Vesterheim Folk School, the American Swedish Institute, and Vävstuga.

Lisa-Anne Bauch. “Northern Lights.” She wove this piece in Rosepath technique during a Scandinavian Weavers group project.

Experienced weavers in the group now find themselves in the position of teachers and mentors for younger weavers eager to learn. Lisa Torvik studied weaving at a traditional handcraft school in Norway and appreciated the privilege of learning weaving in an organized, successive way, from the basics to advanced techniques. “We alternated between theory and hands-on weaving experience,” she explains, so both types of learning reinforced each other. Newer weaver Holly Hildebrandt enjoys the opportunity to learn from Lisa and other seasoned weavers, writing, “I am so inspired by this group—the things they create and teach, their travels, and overall enthusiasm for a life filled with this craft. It’s clear how weaving and an interest in Scandinavian tradition has shaped each of their lives and their adventures.”

Over the years, some group members have become experts at specific techniques. Robbie LaFleur focuses her study and teaching on traditional Norwegian tapestry and is currently writing a book on the open-warp tapestry technique of famed Norwegian Art Nouveau weaver Frida Hansen. Judy Larson has become an expert in Swedish rag rug techniques and generously shares her expertise with both the Scandinavian Weavers and Rag Rug Weavers.

Judy Larson. “*Rölakan* Ripples.” The wedge design of the rug made with fabric strips was inspired by a historical rag rug owned by the American Swedish Institute in Minneapolis.

The centerpiece of the exhibit was Melba Granlund’s large-scale warp-weighted loom. When Melba joined the Scandinavian Weavers in 2009, she was eager to try many different looms to find one that “would be my friend.” She settled on the historical warp-weighted loom and now teaches classes at the Weavers Guild and the American Swedish Institute in Minneapolis as well as North House Folk School in Grand Marais, Minnesota. There, she teaches a weeklong course where students first build a small warp-weighted loom and then weave on it.

The Scandinavian Weavers group has organized many exhibits over the years. A recent example is Domestic to Decorative: The Evolution of Nordic Weaving, held at Red Wing Arts in Red Wing, Minnesota. The exhibit included several heirloom weavings as well as contemporary weavings based in traditional techniques and family stories. Other recent exhibits included Weaving the North (read more: Part One, Part Two) held at North Suburban Arts Center in Fridley, Minnesota, which examined northern weather, landscapes, and cultures, and Everything Under the (Midnight) Sun: Scandinavian Weavings at the Textile Center in Minneapolis. Additional past exhibits were curated around themes as varied as the color red, a famous medieval tapestry, and Scandinavian symbols, myths, and fairytales. Weavings from these exhibits formed parts of Vibrant Tradition, as well as weavings newly created for this exhibit.

Other exhibit highlights included pieces by Jan Mostrom woven with hand-dyed yarn. Nancy Ellison contributed a rya done with beautiful locks from her flock of heritage Scandinavian sheep breeds. In addition, Nancy’s krokbragd weaving, “Pastors in a Row,” shows the figurative possibilities of the technique: between bands of traditional geometric designs are farmers, farmwives, sheep, and black-suited pastors presiding over a row of gravestones.

Jan Mostrom. “Summer Flowers.” the flowers in *dukagång* technique which creates columns and the rest of the patterns are woven in inlay technique similar to *Vestfoldsmett* creating a checked effect.

Traditional folk arts such as weaving are handed down through the generations but never remain static. They evolve and grow to meet changing circumstances while remaining rooted in specific cultures. The result is a continuous conversation between past, present, and future — and in our case, the wide-ranging exhibit, Vibrant Tradition: Scandinavian Weaving in the Midwest. Even if you missed seeing the exhibit in person, you can read biographies of the contributing weavers and descriptions of each piece, and see photos of the weavings on the Scandinavian Weavers blog, scandinavianweaversmn.com.

Read more about the exhibit in these two articles:
“Vibrant Traditions on display at Norway House: A colorful tapestry of Nordic color.” Carstens Smith, The Norwegian American, January 25, 2025.
“Norway House’s Vibrant Traditions — a tapestry of time and place.” Sommer Wagen. The Minnesota Daily, February 5, 2025.

Editors note: This article appeared originally before the exhibit opened in Issue 221, Spring 2025, of Shuttle, Spindle, & Dyepot from the Handweavers Guild of America, Inc.

Lisa-Anne Bauch and Robbie LaFleur live in Minnesota and coordinate the activities of the Scandinavian Weavers Study Group at the Weavers Guild of Minnesota. They enjoy weaving rooted in the traditional looms, techniques, and materials of Scandinavia, as well as their respective immigrant groups in North America. Follow them online: robbielafleur.com (website), robbie_lafleur (Insta), and bauch_lisa (Insta).

Help support wonderful articles on Scandinavian textiles with a donation to the Norwegian Textile Letter. Tusen takk

Nordic Echoes: A Journey Curating a Celebration of Contemporary Nordic Traditions

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By Sally Yerkovich

When I first began curating Nordic Echoes: Tradition in Contemporary Art, little did I know it would become a multi-year voyage of discovery that would transform my understanding of Nordic cultural heritage in America.

Back in 2017, the American-Scandinavian Foundation took a bold step. We believed that supporting Nordic traditions as they continue to thrive in the U.S.—particularly throughout the Upper Midwest—was crucial to understanding the rich cultural exchange between the Nordic countries and America. This belief led us to launch a new grant program specifically supporting American artists practicing art forms rooted in Nordic traditions.

Lisa Wiitala
Thimbleberry Leaf
Wool yarn
9 x 8 7/9 x 2 1/8 inches

What we discovered was eye-opening. Scandinavian traditions aren’t just surviving in the U.S.—they’re flourishing in fascinating ways. Some artists maintain strict adherence to forms that arrived with the first waves of Nordic immigrants. Others have adapted their practices to reflect the American landscape and environment. And perhaps most exciting, many are taking these traditional art forms in bold new directions, demonstrating just how dynamic and adaptable these cultural traditions can be.

Mike Loeffler. Contemporary Goose, 2024. Quaking aspen, 4 1/2 x 13 1/2 x 6 1/2 inches

While nurturing these skills and ensuring their transmission to younger generations was a primary goal, we quickly noticed something concerning: many of these incredibly talented artists remained virtually unknown outside their immediate communities. Both in the U.S. and in the Nordic countries themselves, there’s growing concern that these traditions might not appeal to younger generations, raising questions about their future vitality.

Despite our support for public programs showcasing Nordic American traditional arts across the six Upper Midwestern states in our funding area, it didn’t feel sufficient. These artists and their work deserved more visibility. What began as a modest proposal for a traveling exhibition in the Upper Midwest quickly expanded into something much more ambitious—an exhibition that would debut in New York before journeying westward through North and South Dakota, Iowa, Minnesota, Wisconsin, and Michigan’s Upper Peninsula!

Curating this exhibition presented unique challenges. These artists typically work in isolation, and the characteristic Upper Midwestern/Nordic trait of modesty meant many weren’t eager to step into the spotlight. We partnered with folklorists familiar with both Nordic traditions and the Upper Midwest, while organizations like the American Swedish Institute, Vesterheim, and North House Folk School provided invaluable connections.

Beth Kraus, Guinea Pig Carrier. Birchbark with found carved wood, 21 x 9 x 4 inches

Ultimately, we chose to focus on artists who are pushing boundaries and taking traditions in exciting new directions. The result is a diverse showcase featuring 24 remarkable artists and 55 works that tell the evolving story of Nordic cultural heritage in America.

Join me as this exhibition begins its journey, celebrating not just the preservation of tradition, but its vibrant evolution in contemporary American art. Nordic Echoes: Tradition in Contemporary Art opens to the public at Scandinavia House in New York City on April 5, 2025. In September, it will begin its Upper Midwestern tour at the South Dakota Museum of Art, Brookings, South Dakota; American-Swedish Institute, Minneapolis, Minnesota; Vesterheim, Decorah, Iowa; Plains Art Museum, Fargo, North Dakota; Leigh Yawkey Woodson Art Museum, Wausau, Wisconsin; and De Vos Art Museum, Marquette, Michigan. Nordic Echoes will travel through 2027.

Sally Yerkovich, Director of Educational Exchange & Special Projects, The American-Scandinavian Foundation

Bio: As Director of Educational Exchange & Special Projects at the American-Scandinavian Foundation in New York City, Sally Yerkovich oversees all of ASF’s grant-making programs. A cultural anthropologist with extensive experience in museums, she also teaches in the Museum Anthropology Master’s Program at Columbia University.

The American-Scandinavian Foundation is a publicly-supported not-for-profit organization committed to promoting educational, cultural and professional exchange between the United States and the Nordic countries—Denmark, Finland, Iceland, Norway, and Sweden. ASF offers fellowships, cultural grants, internships/training, publications, exhibitions and other public programs reinforcing the strong relationships between the two regions, honoring their shared values, and appreciating their differences.

Help support wonderful articles on Scandinavian textiles (and the publisher’s upcoming research in Norway) with a donation to the Norwegian Textile Letter. This warbler is chirping his thanks! Tusen takk

Vibrant Tradition: Scandinavian Weaving in the Midwest (Exhibit Recap)

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By Robbie LaFleur

Important note: The exhibit has been extended to April 19, 2025

Vibrant Tradition: Scandinavian Weaving in the Midwest, an exhibit including 49 traditional and contemporary weavings, opened at Norway House in Minneapolis, Minnesota, on January 31, 2025. For more than thirty years devoted fans of Scandinavian weaving techniques at the Weavers Guild of Minnesota have been gathering to learn from one another. This resulted in a strong community created by a shared interest in traditional Scandinavian weaving techniques and commitment to keeping our craft alive — and vibrant. The current exhibit at Norway House in Minneapolis celebrates the history and the ever-constant enthusiasm of the members of the Scandinavian Weavers Study Group.

Each piece in the exhibit is accompanied by a QR code, which leads to information about the artist and the piece. The weavers were encouraged to give detailed background about their weavings, and because this is a study group retrospective, to write about how the Scandinavian Weavers Study Group has been important to them. All the descriptions are linked to this table: Artists and Description

Norway House
913 E Franklin Ave, Minneapolis, MN 55404
January 31 – April 19, 2025

In the center of the exhibit is a magnificent weaving in progress by Melba Granlund on a warp-weighted loom.

People of all ages enjoyed an introduction to weaving on two Family Fiber Days on February 22 and March 22. The March event began with a group from a local retirement center, Becketwood, followed by a steady stream of families and children all day long, more than 60 in all. The Family Fiber Day demonstrators (Beth Detlie, Nancy Ebner, Melba Granlund, Holly Hildebrandt, and Peg Hansen) gave away at least 10 frame looms with shuttles so visitors could finish weaving at home.

Carstens Smith, Program Coordinator at Norway House, shared several positive comments about the first two months of the exhibit.

“This is one of the best-attended exhibits we’ve had.

“People are using the collateral materials more than I have ever seen them used before. People want to learn about the artists, the materials, and the processes.

“When people first walk in the gallery, I can see an immediate reaction – whispered “oh wows,” smiles, zeroing in on a piece and going straight towards it like an arrow – strong positive responses that one doesn’t normally see at an art gallery.”

(Photo: Lisa-Anne Bauch blends with her weaving, Aegean Norwegian.)

Carstens also shared a story that reflects a change in audience responses to textile-related exhibits. “I have seen a tectonic shift in the attitude towards working with textiles as art. In the early 80s, I attended a gallery showing of quilts with my father-in-law. He barrelled through the exhibit, and when I caught up with him, he snorted, “I wish they wouldn’t pass these things off as art.” The people coming to this exhibit clearly recognize the textiles they see as art. They appreciate the work that went into each piece and they acknowledge the artistry. There’s no snorting here.”

I agree with Carstens, and also feel that even if textile objects are not exclusively examined as art, they can be appreciated as important cultural historical objects or examples of exquisite (and often disappearing) craftsmanship. Those are all valid reasons to be worthy of gallery exhibits.

Vibrant Tradition honors the Scandinavian Weavers’ longstanding programs, including education, mentorship, group projects, exhibits, and collaborations with other organizations. Several group members studied weaving in Norway and other Scandinavian countries through weaving schools and private study, while others have taken classes with visiting teachers at American institutions such as the Weavers Guild of Minnesota, Vesterheim Folk School, the American Swedish Institute, and Vävstuga. Several of the members teach weaving.

Our Scandinavian Weavers Study Group is a source of personal connection and sharing of expertise. This retrospective will be over soon, but plans are already underway for our next opportunity, featuring even more interactive programming.

Read more about Vibrant Tradition: Scandinavian Weaving in the Midwest in these two articles:

“Vibrant Traditions on display at Norway House: A colorful tapestry of Nordic color.” Carstens Smith, The Norwegian American, January 25, 2025.

“Norway House’s Vibrant Traditions — a tapestry of time and place.” Sommer Wagen. The Minnesota Daily, February 5, 2025.

Nordic News and Notes – October 2024

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News Article

“Keeping old weaving traditions alive in new contexts: From North House Folk School to Scandinavia to Vesterheim Museum” By Caroline Feyling. The Norwegian American, September 18, 2024

Caroline Feyling recently finished a year as a Folk Art Apprentice at North House Folk School. In this article she describes her Norwegian background, her inspiring research trip to Scandinavia and subsequent work with Norwegian weaving.

Exhibit – Recent – Norway

MALFRIDUR ADALSTEINSDOTTIR
Stemning / Atmosphere

26 September – 3 November 2024. Format Gallery, Oslo, Norway

Málfríður Aðalsteinsdóttir (born 1960, Iceland) lives and works in the forests of Norway. She combines wool and horsehair in her embroidered drawings, using both the natural colors of different sheep breeds and plant-dyed wool, which is then carded before the desired thread is spun. Older craft traditions that involve a close connection between the hand and the material, respect for natural resources, and the time-consuming aspect of handmade work are fundamental to her practice.

Exhibit – Upcoming – Finland

EMMA: Espoo Musuem of Modern Art. “Finnish Ryijy Textiles to Complement Glass and Ceramics of Collection Kakkonen at the End of 2024.”

From the website: “EMMA will mark the two years of the hugely popular Collection Kakkonen exhibition with new additions. The updates will be installed gradually over the autumn season, beginning in September 2024, with the new exhibition ready for public viewing in the last week of November…The new Ryijy Gallery section at Collection Kakkonen strengthens EMMA’s commitment to design, featuring textiles of artistic, cultural, and historical importance. Displayed alongside ceramic and glass objects, the ryijys highlight the interwoven history of these three genres. In his collecting, Kyösti Kakkonen has focused on the works of renowned Finnish ryijy designers. The new display will include around 15 pieces from the 1930s to the 1980s by various artists, including Uhra-Beata Simberg-Ehrström.

Exhibit – Upcoming – Minneapolis

Vibrant Traditions: Scandinavian Weaving in the Midwest

Norway House, 913 E Franklin Ave, Minneapolis, MN 55404
January 31 – April 6, 2025

This exhibit of traditional and contemporary weavings in Scandinavian techniques will take place in the Mondale Galleri at Norway House. The Scandinavian Weavers Study Group is celebrating almost three decades of collaboration and friendship that has included exhibitions, study group topics, and sharing of expertise. This resulted in a strong community with a shared interest in traditional Scandinavian weaving techniques and commitment to keeping our craft alive — and vibrant. The exhibit will be accompanied by weaving demonstrations, special events, and waffles (available in the Norway House Kaffebar)! Check the Scandinavian Weavers blog in the coming months for details.

Help support wonderful articles on Scandinavian textiles with a donation to the Norwegian Textile Letter. Thank you! Tusen takk!

From WOW! to HOW?: Weaving at the Karin Larsson Exhibit

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Introduction by Lisa-Anne Bauch

In 2024, the American Swedish Institute (ASI) in Minneapolis, Minnesota, hosted the traveling exhibition “Karin Larsson: Let the Hand be Seen.” Karin Bergöö Larsson (1859–1928) was a groundbreaking artist whose textiles and designs ushered in a new era of interior design and established the iconic Swedish style that continues to inspire artists worldwide. Many of Karin’s works were forever captured in her husband Carl Larsson’s paintings of Swedish life. It was Karin who designed and created Lilla Hyttnäs, the Larssons’ home just outside of Falun in Sundborn, Sweden, which was so often the subject of Carl’s paintings. The home continues to inspire and is open to the public as Carl Larsson-gården, which organized the exhibition. (Note: The exhibition featured reproductions of Karin’s textiles, since the originals are fragile.)

A gallery view of the Karin Larsson exhibit featuring her well-known door hanging, “Kärlekens ros” [The Rose of Love]. Photo: Robbie LaFleur

Since Karin Larsson was a weaver, ASI asked the Weavers Guild of Minnesota to help tell her story. Members of the Scandinavian Weavers and Rag Rug Weavers demonstrated the art of Swedish-style rag rug weaving throughout the run of the exhibit. (For details and photos, see scandinavianweaversmn.com ) The Collections staff at ASI also put together a display about Hilma Berglund, one of the founders of the Weavers Guild of Minnesota.

In addition to Karin Larsson, weavers took inspiration from a 14-meter rag rug in ASI’s permanent collection. It was woven by Maria Jonsson in the province of Värmland, Sweden and donated to ASI in the 1950s. Judy Larson, coordinator of the Rag Rug Group, warped a vintage Glimakra loom in “Swedish blue” and designed our first rug to feature a wedge pattern like the ones in Jonsson’s rug. The article below is taken from Judy’s remarks during a panel discussion on October 24.

“From WOW! to HOW?”: Weaving at the Karin Larsson Exhibit
By Judy Larson

Edited by Lisa-Anne Bauch

I’ve had the privilege of visiting Carl and Karin Larsson’s home in Sundborn, Sweden, in 2018 and again in 2022. The first guided tour was all about Carl and his painting, and we were free to take any photos we wanted. It was mentioned that Karin was a weaver, and we could see her handiwork all over the house, but it wasn’t mentioned much. Everything in the gift shop was about Carl.

There was quite a difference in 2022, perhaps because the international weaving conference Väv 2022 was taking place at the same time. There was much more focus on Karin, all in Swedish, and we could no longer take any photos inside the house. But of course, we could purchase books full of pictures of Karin’s weaving, embroidering, sewing, and designing textiles. Her delight at getting a loom to weave tapestry and her skill at creating new macramé and weaving techniques were now included in the tour, with notable stops to look at the textiles that created the classic Swedish décor so evident in Carl’s paintings. Parts of the Sundborn house were now off-limits as they were designated family-only spaces, so it has been especially rewarding to see the excellent displays that the American Swedish Institute has recreated here in the Turnblad Mansion.

Karin’s quote about “weaving with memories” as she wove rugs from fabrics that had been her children’s clothing resonates with every weaver. Her quote that “When women are doing handwork, men think they are doing nothing!” reflects the need for changing the appreciation of her handwork in sewing, embroidering, and weaving, which is so beautifully executed throughout this exhibit. When the Weavers Guild of Minnesota was invited to be an active part of the exhibit, we were thrilled to have the opportunity.

As part of the exhibit, ASI displayed the Värmland Rug, woven by a 76-year-old weaver in Värmland, Sweden and presented to as a gift to ASI from that province in 1952. It had been woven to go around all four sides of a dining room table. Weavers Guild members Phyllis Waggoner and Wynne Mattila had studied the rug earlier, so there was detailed documentation on its structure. But it is a 14-meter, 42-foot rug! The fascination with it went from “WOW!” to “HOW?”

The weavers in the Scandinavian and Rag Rug study groups had a chance to see the rug, but were unable to fathom how it could be woven that long on our looms. It made for some interesting guesses, but it was always a challenge. For example, if you put the rug under you (on the cloth beam), you wouldn’t have room to treadle. If you put the rug over you (on the front beam), you couldn’t reach the beater.

Fortunately, weaver Carol Colburn saw the exhibit and did some research. In the Norwegian book Fra Fiber Til Tøy: Tekstilredskaper Og Bruken Av Dem I Norsk Tradisjon by Marta Hoffmann, she found that there were looms with a split in the front beam, so that the rug could be secured as you wove, and the woven part simply went to the side on the floor, allowing you to weave any length without being restricted by the cloth beam. More inspiration and education! [See a longer technical explanation of the loom at the end of this article.]

Our groups had been invited to do active weaving demonstrations during the Karin Larsson exhibit and decided to weave a shorter rug in the Värmland wedge technique, as we no longer use 42-foot rugs around our dining room tables! The Glimakra loom was borrowed from Color Crossing, a weaving studio in Roberts, Wisconsin and was warped with a Rosepath draft. That draft honors the history of Sweden and all of Scandinavia and allows many different variations in the patterns on the rug. Weft fabric in shades of blue was donated and prepared. Three weavers were scheduled for each demonstration, showing “up close and personal” the preparation, weaving, and finishing skills used in rag rugs.

Judy Larson captivates visitors of all ages with her explanations about the loom. Photo: Robbie LaFleur

Preparation includes the washing, sewing, cutting, and, if you prefer, ironing of all the fabrics to make the weft strips. A bias tape maker was used to enclose all the raw edges of the fabric to make the rug finished on both sides. The weaving happens at the loom as the warp threads are lifted and lowered to hold the weft in place. The shuttle holding the weft goes from right to left and back again as the weft forms the patterns on the rug. To some, the treadling looks like playing an organ. The finishing involves creating a stable edge by knotting, sewing, twisting, or braiding the warp threads to hold the rug weft securely in place.

During our demonstrations, we received lots of comments about weaving that had been done by parents, grandparents, and great-grandparents as we inspired old memories and also answered new questions from those who had never seen weaving before. And yes, there are people who still weave! It is not a dying art, and there are 600 members of the Weavers Guild who keep it active, including over 40 volunteers who were excited to share their weaving skills with ASI visitors. The biggest challenge was that the volunteers spent so much time talking that they didn’t get their allotted 18 inches woven during their three-hour time slot! Some even came back to get more weaving done.

The first rug we wove used the wedge technique seen in the Värmland rug, and the next three rugs used Rosepath variations. Some variations were exactly as in the draft and others were “unique.” There was even a little Love’s Path, an Upper Michigan and Iron Range variation, sometimes called Over the Waves, another nod to our ethnic heritage. In addition, beginning in June and continuing into next year, there were weavers working at the Weavers Guild, each creating a unique Rosepath rug of their own, so ASI visitors were invited to visit the Guild as well.

Nancy Gossell hand-finishing one of her beautiful rugs. Photo: Lisa-Anne Bauch

This joint project between the Weavers Guild of Minnesota and the American Swedish Institute continued the legacy that Hilma Berglund and other weavers envisioned, passing on the weaving skills to the current and future generations and keeping this fiber art vibrant for today’s and tomorrow’s weavers. It promoted the Weavers Guild of Minnesota and all that it offers, introducing many new visitors to our new space in the Open Book building on Washington Avenue in Minneapolis. Finally, it allowed the Rag Rug and Scandinavian study groups to learn new skills and share our passion for weaving, spinning, and dyeing, and all the fiber arts with ASI visitors.

October 2024

As the exhibit comes to a close, we’d like to present our version of the Värmland wedge rug to ASI. It’s a bit shorter than the original, but woven with just as much pride and passion! Thank you for including the Weavers Guild of Minnesota in your presentation of the Karin Larsson exhibit. We’ve had a delightful and productive time with you.

Judy Larson has been weaving for 22 years and is still fascinated by learning new things and teaching them to others. Retired after teaching elementary kids for 31 years, she now has a studio at Color Crossing in Roberts, WI. She loves puzzles, and sees weaving as a puzzle that can be varied every time a loom is warped! Shaft switching, Rosepath, Moorman, and other techniques are used to create a variety of rag rugs, as well as scarves, towels, and runners. She leads the Rag Rug Study Group at the Weavers Guild of Minnesota, and is also active in the Scandinavian Weavers Study Group and New and Occasional Weavers Study Group. She teaches weaving at the Guild and at Color Crossing to inspire new weavers to share in the passion, curiosity, and creativity that weaving provides.

Carol Colburn Comments on Managing VERY Long Weavings

“When I saw you and the other demonstrators at ASI on Sunday, the question came up about how to manage long lengths of rag rug as in the ASI example. I remembered later that I had seen an historical solution in my Norwegian weaving research. When weaving long warps of vadmel, the loom does not have a separate front beam that winds on the yardage. Instead, the breast beam itself rotates and has a slit in it which holds the tension on the weaving, and when advancing the warp, the yardage is pulled through this slit and spills out on the floor – it piles up, and then is simply pushed to the side outside of the loom on the floor. In Marta Hoffmann’s book from 1991, Fra fiber til tøy [From Fiber to Fabric], she has a series of photographs that shows this. The loom shown is from 1668, and still in use in Setesdal at the time Marta Hoffmann did her research there in 1969. Presumably similar old looms would have been used in Sweden – the English translation caption on these pages mentions that this type of loom was used for a longer time in Eastern Europe. Certainly there was a lot of weaving knowledge and technology shared throughout those centuries. This could have been used for rag rugs in Sweden and among Swedish Americans in the 19^th century too.”

Carol mentioned relevant pages from the book. English caption under photo on page 132: “Loom from Setesdal, Aust-Agder, dated 1668. The type is now in Norway only known from this district. The treadles are fastened under the seat and the breast beam is rotating. It has a split for the woven cloth which is pulled down to the floor.

See ill. 172, 173.

Read more about the exhibit

“Summer Weaving Demos at the American Swedish Institute!” posted June 11, 2024
ASI Update: “Cocktails at the Castle,” posted September 20, 2024

Help support wonderful articles on Scandinavian textiles with a donation to the Norwegian Textile Letter. Thank you! Tusen takk!

2024 National Norwegian-American Folk Art Exhibition

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Each National Norwegian-American Folk Art Exhibition at Vesterheim Norwegian-American Museum features enormously skilled practitioners of rosemaling, weaving, woodcarving, knife-making, and metalwork. From the Vesterheim website: “It showcases the self-expression of contemporary artists who create folk art rooted in Norwegian traditions. The mission of this exhibition is to celebrate the past, present, and future of folk art by encouraging and inspiring emerging and established folk artists to develop their craft. Artists submit work for evaluation by a team of judges, who offer feedback on their pieces and award ribbons to the very best work.”

Congratulations to the ribbon winners in the weaving category for 2024!

Blue Ribbon and “Best in Show”

Carol Culbertson, “Danskebrogd Vest.” Photo: Vesterheim Norwegian-American Museum

Carol Culbertson, Evansville WI

Vest in Danskebrogd Technique

It has taken several years of experimenting to find a way to weave correctly shaped pieces to stitch together for a vest. Drawing on many years of experience as a seamstress, this year has been the most successful. It was very exciting to stitch the pieces together and have a comfortable vest to wear.

I began with Navajo weaving techniques 40 years ago and changed to Norwegian techniques in the last 10 years. One of my favorites is tapestry weaving which is found in both traditions.

Red Ribbon

Kathleen Doyle Almelien, Washington IA

Young Boy’s Woven Stocking Bands

My grandson will wear these garters so I selected symbols to protect and hold wishes for him. The Saint Andrew’s Cross is for humility, the 8-pointed star communicates the hope for abundance, the checkerboard is where the game of life is played. The diamond is the woven shape of the sun. The triangular arrows guide man’s time and direction.

I weave on a vertical loom made by Ole Rue of Vinje, Norway. As I have been investigating band weaving, I began noticing the reoccurring band motifs that mark region/valley and the bands’ use as a shield to protect and repel evil.

White Ribbon

Carol Culbertson, “Stained Glass” Photo: Vesterheim Norwegian-American Museum

Carol Culbertson, Evansville WI

“Stained Glass” Wall Hanging in Krokbragd Technique

This wall hanging is a double-point krokbragd (bound weave). With an abundant supply of leftover yarn, I was looking for a way to use some of it. After thinking about how this yarn could be used for several months, a stained-glass window idea popped into my head. After several drawings, using the double-point krokbragd technique seemed like the answer.

I began with Navajo weaving techniques 40 years ago and changed to Norwegian techniques in the last 10 years. One of my favorites is tapestry weaving which is found in both traditions.

White Ribbon and “People’s Choice” Award

Helen Scherer “Medieval Monuments” Photo: Vesterheim Norwegian-American Museum

Helen Scherer, Shawnee KS

“Medieval Monuments” Wall Hanging in Krokbragd Technique

Nine medieval sites in Norway and Denmark inspired the abstract patterns and colors in this wall hanging. From the top down:

1. Crosses and Ribe Cathedral, Lauge and Mette Paintings, Hans Tausen Statue
2. Candles and Hamar Cathedral Ruins, Sira Brynjulf Haraldsson (d. 1348)
3. Horse Runes and Akershus Fortress, Canons
4. Birkebeiner Skis and Håkon’s Hall, High Seat Tapestry
5. Axes and Nidaros Cathedral
6. Clubs and Dale-Gudbrand’s Farm in Hundorp
7. Stone Runes and Harald Bluetooth, Jelling Runestones
8. Ing Runes and Harald Fairhair, Haraldshaugen
9. Gift Runes and Unearthed Gullgubber, Bornholm
10. Crosses and Stars, Poinsettias

My first weaving teacher was my mother, who emigrated from Gudbrandsal. I frequently travel to Scandinavia to meet relatives and friends, explore the sites, and visit museums. The weaving I enjoy most is based on traditional Norwegian techniques.

October 2024

Help support wonderful articles on Scandinavian textiles with a donation to the Norwegian Textile Letter. Thank you! Tusen takk!

Nordic News and Notes, April 2024

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Exhibits

“Karin Larsson: Let the Hand be Seen.” American Swedish Institute, Minneapolis, MN. June 8, 2024 – October 27, 2024.

Explore the colorful work and legacy of Karin Larsson—a trendsetting artist, designer, and style icon ahead of her time—in a special exhibition at the American Swedish Institute from Carl Larsson-gården.

Karin Bergöö Larsson (1859–1928) was a groundbreaking artist whose approach to textiles and design ushered in a new era of interior design and established the iconic Swedish style that continues to inspire contemporary artists worldwide. The floral motifs, vivid colors, and charming simplicity of her style remain heavily influential nearly a century after her death, inspiring both independent makers and major brands like IKEA.

Many of Karin’s works were forever captured in husband Carl Larsson’s iconic paintings of Swedish life. It was Karin who designed and created Lilla Hyttnäs, the Larsson’s home just outside of Falun in Sundborn, Sweden, which was so often the subject of Carl’s paintings.

This exhibition presents Karin Larsson as an artist, designer, dressmaker, and style icon through her art and textiles.

Tendencies 2024 – In the Right Hands. Galleri F15, March 23 – June 12, 2024. Moss, Norway.

The 46th edition of Tendencies focuses on craft’s materiality, the work of the hands, and making statements through textiles. The exhibition presents the practices of 15 artists based in Finland, Norway, and Sweden.

For those who can’t travel to Norway, a short video on the gallery website gives an overview of the works. The Norwegian text of the video is mostly in English in the exhibit description, except for this, “The source of inspiration for this edition of the Tendencies exhibit is the artistry of the Norwegian textile artist Brit Fuglevaag. She is an 84 year old woman who was very significant n the development of textile art and weaving in the 1960s, and who remains active in textile art today.” Photos of individual works can be seen in the Media Gallery.

Lectures Online

Nearly Wild Weaving. Tapestry: In Conversation – With Robbie LaFleur. Wed, April 24, 2024 7 pm UK time. (Eventbrite calculates the time for each guest’s time zone. It costs 10 pounds, which Eventbrite conveniently charges you for in your own currency.) Register here.

During our conversations we find out how our guests approach their work, what inspires them, what techniques they favour and why. Throughout this season we are taking a more international view of tapestry weaving, and this month delighted to be crossing the Atlantic once again, this time to talk to Robbie LaFleur who is based in Minnesota. And as we talk, we’ll also be travelling back across to Scandinavia, finding out more about Robbie’s long association with weaving in Norway.

Robbie’s work is strongly influenced by traditional Norwegian weaving. She has a particular interest in the work of Frida Hansen, which she studied in depth during a funded research programme in 2019. Robbie has been the editor of the Norwegian Textile Letter for many years and is also an instructor, introducing many others to the different facets of Scandinavian approaches to tapestry weaving.

We will find out what brought Robbie into tapestry weaving and especially the world of Scandinavian weaving, how she approaches her designs, the influences on her work and discover where her work has taken her.

“Early Swedish Folk Weavings” with Wendel Swan. May 1, 2024, 1 pm EDT, 7 pm CET. Registration is required. Click Here to Register. Cost: Free

Wendel Swan, who has loaned 54 rare and exemplary textiles for the current exhibition Swedish Folk Weavings for Marriage, Carriage, and Home 1750-1840, at the American Swedish Historical Museum in Philadelphia. He will discuss the historical background of Scandinavian weavings since the Viking era and, with numerous illustrations, the enormous diversity and aesthetic merit of design elements, color and weaving techniques of Swedish textiles that were produced for personal household use in relatively small Scania.

Lectures (In Person)

“Norwegian Folk Costumes: A Living Tradition.” Lauran Gilbertson, Curator, Vesterheim Norwegian-American Museum. May 18, 2024. 11 am. Location: New Directions Real Estate Building, lower level, 110 North Main Street, Westby, Wisconsin.

As part of the Westby Syttende Mai celebration, Vesterheim Chief Curator Laurann Gilbertson will explore Norway’s tradition of colorful folk costumes is as old as the Middle Ages, and as young as the 1940s. Learn about the history of costumes from Hardanger, Telemark, Hallingdal, and many other regions of Norway. The forces of politics, fashion, and immigration have left their mark on this important part of Norwegian and Norwegian-American folk culture.

The program is open to the public and starts at 11:00 am. For more details about the event contact Dave Amundson at nissedal@mwt.net or visit HOME | Westby Syttende Mai (syttendemaiwestby.com).

Helena Hernmarck tapestry at Hudson Yards

“Hernmarck Tapestries at Hudson Yards: Artist Talk with Helena Hernmarck and Matilda McQuaid.” Wednesday, May 22, 7 pm. Free. (Reserve tickets.) Scandinavia House, located in New York City at 58 Park Avenue, four blocks south of Grand Central Station.

Tapestry artist Helena Hernmarck and moderator Matilda McQuaid discuss Hernmarck’s latest commission: two sets of monumental tapestries for a residential lobby at 35 Hudson Yards in New York City, Flowers and Maple Tree. The program will also include a screening of the documentary Hernmarck Tapestries at Hudson Yards (20 min.), which showcases Helena’s ongoing collaboration with weavers and spinners in Sweden. The film also explores the complex design and installation requirements for the unique commission, and highlights the relevance of tapestry as an art form in contemporary architectural settings.

“The Influence of Karin Larsson on the Art World and the Work of Helena Hernmark,” an artist talk by Helena Hernmarck. Sunday, June 9, 5-9 pm. American Swedish Institute, Minneapolis Minnesota. Cost: $30 ($25 ASI members) (Register here.)

Be the first to view Karin Larsson: Let the Hand Be Seen at this preview event featuring a special FIKA Café menu and artist discussion from the renowned Swedish textile artist, Helena Hernmarck, who was heavily influenced by the work of Karin Larsson.

Have you ever caught yourself marveling at the massive tapestry in the Nelson Cultural Center? Now’s your chance to meet the artist herself! Following a screening of a new short film about her work, Helena Hernmarck will discuss her work and the influence of Karin Larsson on the art world.

Join ASI for small plates in the courtyard available for purchase, featuring a menu inspired by Karin Larsson’s cookbook and curated by FIKA Café’s executive chef, Amalia Obermeier-Smith. Dress up inspired by Karin or come as you are!

Web Sightings

“Tradition in Transition: A Colorful Baptismal Dress from Norway.” Laurann Gilbertson, Curator, Vesterheim Norwegian-American Museum. Piecework, April 3, 2024.

This short essay begins, “Garments worn for special occasions make up a significant percentage of many museums’ collections because they are the textiles that people tend to save and pass along.” Beautiful textiles become even more meaningful when accompanied by the stories of the people who made and used them.

“Hardanger Embroidery: Needlework to Do When the Loneliness Comes.” Laurann Gilbertson, Curator, Vesterheim Norwegian-American Museum. Piecework, November 3, 2023.

Anna Anderson began her tablecloth on her journey from Norway to the United States. “My mother gave me the tablecloth when I was leaving and told me that when I was feeling lonesome I should work on it,” she recalled.

Help support wonderful articles on Scandinavian textiles with a donation to the Norwegian Textile Letter. Thank you! Tusen takk!

Nordic News and Notes, March 2024

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Scandinavian Weaving classes

North House Fiber Art Courses

Among the many tempting fiber arts courses held on the shores of Lake Superior are a few with a specific Scandinavian theme: Scandinavian Band Weaving with Caroline Feyling, Swedish Toothbrush Rugs with Melba Granlund, Tvåändsstickning – Mittens in Swedish “Twined” Knitting with Lily Bell, and Warp Weighted Tabletop Loom: Build and Weave with Melba Granlund.

Vesterheim Folk Art School

Vesterheim Folk Art School has announced their summer and fall 2024 in-person and virtual classes. Be sure to check out both the Fiber Arts and Weaving categories.

Video

Charlotte Hedenstierna-Jonson. “With Sail over the Baltic Sea.” (On the potential connection between the introduction of sails and the Viking phenomenon). Part of a 2022 conference, “Vikings before Vikings.”

From the description: “The iconic image of the Viking Age is arguably the sailing boat, as e.g. seen on the Gotlandic picture stones… Sail production was an extensive and in research often underestimated process, requiring extensive amounts of raw material that then had to be processed, spun and woven. Sailing provided quicker and less arduous means of transportation, increasing the range of travel, but the making of sails was an advancement that required a new level of organisation and planning. The connection between sails and the Viking Phenomenon is significant, but the social development it reflects is equally important, constituting an even more significant indicator of the beginning of a new era.”

Båtryer. Romsdal Museum.

This brief museum video highlights båtryer [pile coverlets, or rya, used on boats]. Båtryer has English subtitles. (It seems odd they chose to make it black-and-white.)

Exhibitions

“Swedish Folk Weavings for Marriage, Carriage, and Home 1750 to 1840.” Swedish American Historical Museum, Philadelphia, Pennsylvania. March 15-September 22, 2024.

From the description: “Swedish Folk Weavings for Marriage, Carriage, and Home is an exhibition of rare and artful cushions and bed covers woven by women for their households. Many have inscribed dates ranging from 1750 to 1840. Such textiles were used on or displayed for special occasions and were a significant form of decoration for the typical household.

“The design elements and patterns reflect the influence of centuries of trade since the Viking era. Visitors will see colorful geometric patterns, exotic birds, real and mythical creatures, religious depictions, crowns, floral themes, and even patterns from Roman mosaics. Swedish Folk Weavings for Marriage, Carriage, and Home was developed in collaboration with Wendel and Diane Swan, both of whom are of Swedish descent, and whose collection is primarily featured in the exhibition.”

Help support wonderful articles on Scandinavian textiles with a donation to the Norwegian Textile Letter. Thank you for all your appreciation along the way. Tusen takk!

Nordic News and Notes: October 2023

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A Finnish Weaver in Michigan Inspires her Granddaughter to Study Rya in Finland

“Studying Rya Rug Weaving at Omnia, Espoo Adult Education Centre.” A blog post from Omnia, the Joint Authority of Education in the Espoo region, Finland. October 2, 2023.

Lisa Wiitala from the very Finnish-American town of Hancock, Michigan, studied rya rug weaving at Espoo Adult Education Centre’s weaving studio in the summer of 2023, with support from the American Scandinavian Foundation. Her grandmother was a weaver of rag rugs, but never passed on her skills to her granddaughter. Now Lisa has learned to weave and traveled to Finland to expand for expertise and inspiration.

From the post: “At the start of August I arrived in Tapiola to begin my studies at Omnia, Espoo Adult Education Centre, using a Finnish-made Toika loom generously lent to me by the Weaving Studio. For three weeks I studied with Ulla Karsikas, learning different ways to create a design template, how to choose yarns and color combinations that blend well and achieve the right density, and how to properly finish a rug after being removed from the loom. I also learned to weave a rya in a shape other than rectangular, and how to use different lengths of yarn to create a transitioning of height along the surface. During my time at Omnia, I wove a total of three ryas – I tied a lot of knots in a short amount of time!”

A Norwegian Cat in Love with Knitting

Perhaps you have owned a cat who likes to bring rewards to your doorstep, a baby mouse, perhaps – but probably not hand-knit mittens. The story of Siri, the kleptomaniac cat, was described in the Norwegian media earlier this summer, in Aftenposten and NRK. You can meet Siri in this one-minute video (Scroll down a bit in the article.) It is in Norwegian. You could largely get the point even without a translation, but here are the titles that appear, in English translation.

Meet: Kleptokatt Siri. Tone Lund, cat owner. “She is especially interested in wool clothing. She came home first with a Selbu mitten. I didn’t know it was her who showed up with it. But then another one came. Then it was like they came one after the other. And I didn’t know where she got them.” Siri has built up a large collection of mittens. “In all there are 12 mittens, a knitting project with knitting needles, and two hot pad holders. I am sitting with them and wonder who is missing them. It’s begun to be embarassing. I’ve begun to feel like a thief myself, having these things I don’t own.” Where do the mittens come from? “No, unfortunately I haven’t found the owner, But I really hope the owner turns up. Then she will get back all the beautiful things she knitted. If there is anyone out there who has knitted Selbu mittens and can’t find them, there are here in my house.”

An American Weaver Helps Save an Old Swedish Loom

Judy Larson also helped restore an old Swedish tape loom

“Swedish Loom Restoration at Gammelgården.” Lisa-Anne Bauch. Scandinavian Weavers Study Group Blog, July 7, 2023.

From the post: “Scandia, Minnesota is the site of the first Swedish settlement in Minnesota. Gammelgården Museum in Scandia helps preserve this history … while celebrating the stories of all immigrants and their communities. On the second floor of the Välkommen Hus, there is an old floor loom. The loom was made in Sweden by a father with the intention that it would go to America with his daughter and her husband who would leave shortly after their wedding. The year 1879 is painted on the loom.”

Judy Larson, from the Weavers Guild of Minnesota Scandinavian Weavers Study Group, brought the loom to working order and taught the museum volunteers how to help visitors try out the loom. She said, “I reset the worm gear rotation wheel to engage correctly, and then got the treadle cords and heddle cords to pull evenly and adjusted the reed height to get a better shed. The loom was now functional, and weaving could happen.”

The Scandinavian Weavers Study Group Experiments with Telemarksteppe Technique

Telemarksteppe by Melba Granlund

“Telemarksteppe Project.” Lisa-Anne Bauch. Scandinavian Weavers Study Group Blog, July 4, 2023.

The Scandinavian Weavers Study Group of the Weavers Guild of Minnesota warped a Glimakra loom for a group project. It was the group’s first warp set up in the new home of the Weavers Guild of Minnesota, the Open Book building in Minneapolis. It was a joy to work in this bright space and also have the opportunity to demonstrate weaving Telemarksteppe to visiting students, guests, and Guild members. People were especially interested in the loops left on the edges of the pieces, which is traditional to this Norwegian technique.

Pop-up Exhibit of the Scandinavian Weavers Study Group in Minnesota

Swedish Art Weaves pillow by Jan Mostrom

“Scandinavian Showcase” at Weavers Guild of Minnesota.” Scandinavian Weavers Study Group Blog, July 2, 2023.

In connection with a Scandinavian weaving workshop at the Weavers guild of Minnesota, the Scandinavian Weavers Study Group held an open house. The wide range of weaving brought by members for a pop-up display was remarkable, and visitors were very interested in several demonstrations underway. See more photos of the pop-up exhibit in the post.

Exhibit in Norway

Alt Henger Sammen: Billedvev [Everything Hangs Together: Tapestry] Nelly Aasberg. Veien Kulturminnepark, Hønefoss, Norway. October 1-.

The artist statement: “Everything together” is an exhibition that holds experiences and impressions from nature. It’s everything from forests, mountains, plains, marshes, trees, plants and even small seeds and soil.
Everything has a connection, a reason, and an end that in turn gives life. People, animal life, insects, nature – Everything has a connection. The loom is connected with warp and weft – warp and yarn… I am a tapestry weaver and painter; one does not exclude the other. Nelly Aasberg.” Nelly Aasberg Instagram: @nellyaasberg. Nelly Aasberg Art Facebook: Nelly Aasberg Art.

Exhibit in Philadelphia, Pennsylvania

The American Swedish Historical Museum is honored to debut the artistic work of Karin Larsson for the first time in America! Immersed in the world of the Swedish countryside, Karin Larsson’s work in the textile arts, furniture construction, and interior design reflect her artistic training, curiosity, innovation, and openness to the emerging trends facing life in the late 1800s. Karin’s contributions to the prevailing art movements like Art Nouveau, the Arts and Crafts style, and regional folk techniques, are distinguished by her boldness, simplicity, and taste for abstraction. Karin embraced new methods while embroidering, weaving, knitting, crocheting, making lace, sewing clothes, and producing tapestries for the home she shared with her children and husband, the celebrated painter Carl Larsson. Read more…

Exhibit in Red Wing, Minnesota

Click on the image for a pdf version

Domestic to Decorative: The Evolution of Nordic Weaving. Red Wing Arts Depot Gallery, 418 Levee St., Red Wing, Minnesota. October 27 – December 24, 2023.

Woven textiles from Nordic countries evolved over the centuries into an acclaimed decorative art, both in the home countries of Norway, Sweden, and Finland and wherever immigrants traveled. The Scandinavian Weavers Study Group of the Weavers Guild of Minnesota traces this journey in the curated exhibition “Domestic to Decorative: The Evolution of Nordic Weaving,” as each of the twenty weavers present a personal take on the theme. Some are inspired by treasured family heirlooms and traditional techniques, others by the possibilities of modern looms and materials. The exhibit will include demonstrations of weaving and spinning.

The Past/Present/Future of Folk ArtVesterheim Norwegian-American MuseumJuly 11, 2025 – January 11, 2026

“Early Swedish Folk Weavings” with Wendel Swan. May 1, 2024, 1 pm EDT, 7 pm CET. Registration is required. Click Here to Register. Cost: Free

Charlotte Hedenstierna-Jonson. “With Sail over the Baltic Sea.” (On the potential connection between the introduction of sails and the Viking phenomenon). Part of a 2022 conference, “Vikings before Vikings.”

A Finnish Weaver in Michigan Inspires her Granddaughter to Study Rya in Finland

A Norwegian Cat in Love with Knitting

An American Weaver Helps Save an Old Swedish Loom

The Scandinavian Weavers Study Group Experiments with Telemarksteppe Technique

Pop-up Exhibit of the Scandinavian Weavers Study Group in Minnesota

Exhibit in Norway

Exhibit in Philadelphia, Pennsylvania

Exhibit in Red Wing, Minnesota

Help support wonderful articles on Scandinavian textiles with a donation to the Norwegian Textile Letter. Thank you! Tusen takk!

The Past/Present/Future of Folk Art
Vesterheim Norwegian-American Museum
July 11, 2025 – January 11, 2026