A Special Exhibit at Vesterheim Norwegian-American Museum
July 2 to December 31, 2021

“2020 Bunad Mask” by Kathleen Almelien

Carrying forward the spirit and mission of Vesterheim Folk Art School, this exhibition includes  woodworking, rosemaling, knifemaking, blacksmithing, jewelry, weaving, and fiber art.

The artwork follows Norwegian folk-art traditions but also includes contemporary departures from the historical. Although the COVID-19 pandemic has caused many interruptions across the globe, creativity and the freedom of artistic expression has flourished, and the artwork that everyone submitted was inspirational.

The stories behind the artworks are equally interesting. The pandemic offered opportunities to learn a new skill, complete a project that was started some years ago, or celebrate family. Among the 70 pieces in a variety of media, textile makers were well represented. Enjoy their stories here, beginning with quilter Mike Ellingsen, whose piece won a Juror’s Award—congratulations. A People’s Choice Award will be determined at the end of the show in December. There is plenty of time for a trip to Decorah to make your choice! 

Mike Ellingsen, Decorah, IA
Bergen Fretex 2018

The front of the quilt is pieced cotton fabric with a 100% cotton batting and a 200 thread count muslin back. 

Visiting friends just before the onset of COVID-19, I noticed a woven rutevev (geometric square weave) tapestry on their living room wall. It had been purchased at the Fretex (Salvation Army) store in Bergen, Norway, in 2018. I took a photo for future inspiration. The world then stopped. I designed a quilt based on the photo, and created it totally from fabrics I already owned – no new purchases! The quilting patterns are based on rosemaling designs.

A retired high school choir and drama director, I’ve been quilting for about 40 years. The second floor of our Decorah home is my quilt studio. I am a quilter, pattern designer, lecturer, and teacher – and Minnesota’s 2020-2021 Quilter of the Year.

Laura Berlage, Hayward, WI
Inspired by Rosemaling

This needle felted artwork uses hand dyed wool, from the sheep on my farm, on a felt backing and was inspired by Telemark rosemaling. 

My burgeoning online connections during the pandemic have not only drawn me into the Vesterheim community but also allowed me to connect with fellow instructors and enthusiasts. Vesterheim staff gave me the challenge of creating a piece inspired by some of the artifacts in the collection, and I delightedly partnered with rosemaler Patti Goke to learn about this amazing art form and translate it into felt.

I’ve been working in fiber arts since I was at least eight years old but took up needle felting more recently. The delicate art of the painting with wool invites exploration of techniques and imagery otherwise difficult to capture in fiber.

Robbie LaFleur, Minneapolis, MN
Baldishol Duck

This was woven with open warp transparent tapestry in the style of noted Norwegian artist Frida Hansen using Norwegian spelsau-sheep yarn.

On March 12, 2020, I had woven three inches of this piece for a summer exhibit at Norway House. The imagery includes design elements from the famous Norwegian medieval Baldishol tapestry, and a bird. Two figures in the old tapestry represent April and May. My wood duck represents spring. Would the show even happen? Yes! This duck will forever be tied to uncertainty, social unrest, masks, and social distancing.

I was educated in traditional Norwegian weaving at Valdres Husflidsskole in Fagernes, Norway, in 1977. I received my Vesterheim Gold Medal in 2006. I am coordinator of the Weavers Guild of Minnesota’s Scandinavian Weavers Study Group and publisher of the Norwegian Textile Letter.

Margaret Listug, Stoughton, WI
Shawl for a Sør-Trøndelag Bunad

This is wool yarn embroidery – satin stitch and outline stitch – on wool fabric.

I loved the vivid colors against the black wool. It gave me hope during the dark days of the pandemic and gave me the goal of getting it completed as a daily focus, not the news.

I have been embroidering since I was a child and making Norwegian bunader (national costumes) for over 30 years. I have a degree in Textiles and Clothing from the University of Wisconsin- Madison.

Sharon Moe-Marquardt, Henning, MN
COVID Relief

This is a pillow in rosepath using 16/3 linen warp and a warp of Norwegian Brodergarn and Swedish Faro.

The Scandinavian Weavers Study Group of the Minnesota Weavers Guild are weaving rosepath pillows and many had been using the looms at the Textile Center of Minnesota in Minneapolis. Since I live in greater Minnesota, I proceeded on my own. My interpretation came from a vintage pillow, but I gave mine bright colors as I sat in quarantine for three weeks.

I met Syvilla Tweed Bolson in the early 1990s. I had tried weaving krokbragd (boundweave) from a book, but ran into roadblocks. From my first lesson with Syvilla, I continued to take lessons from her and at Vesterheim with teachers like Lila Nelson and Marta Kløve Juuhl.

Ann Prochowicz, Trempealeau, WI
Wintertide Windows Scarf

This is a handknit “infinity” scarf. It was knit using fingering-weight yarn in a blend of 80% Merino wool and 20% nylon.

Design inspiration came from solitary winter walks in the early morning and late afternoon. Square motifs represent the windows of the houses I pass, as well as the grid-like pattern of the village streets. Sometimes the streets are intersected, hence the shift to diagonal triangles. The colors shift through the blues and purples of stormy winter skies. These motifs are isolated, yet connected.

I taught myself to knit almost 40 years ago, and have been designing for over 30 years. The Nordic influence is so very strong in knitting, and the geometric motifs carry over into other media that I work in, such as weaving, pastels, and sewing.

Rosemary Roehl, St. Cloud, MN
Autumn Delights

This is a wall hanging using the Monks Belt technique. I used Norwegian wool yarn on a linen warp.

I began weaving using the Monks Belt tie-up at the beginning of the pandemic. I hadn’t woven anything using this tie-up for some time. NOW I had plenty of time to redress my loom. I was weaving for myself and continued exploring different combinations of color and patterns until I received my first vaccination on January 18th. It was then time to switch to a different technique and tie-up.

I have been weaving since 1979 after my first visit to Norway and am self taught in the Norwegian tradition. I first entered the National Norwegian-American Folk Art Exhibition in 1983, won my first ribbon in 1986, and won my Gold Medal in 1992. I am a retired teacher.

Beth Rotto, Decorah, IA
Four Decades to Bloom Hooked Rug

This is made from both recycled wool clothing (for the flowers and leaves) and new wool (for the background) on a burlap backing.

Back in the 1970s, I decided to try rug hooking. Esther Miller of Decorah encouraged me, but as sometimes happens with a too-big first project, at some point it was set aside. It was rediscovered in 2020, the perfect thing to do in lock-down. Although not your usual Nordic craft, there are many Norwegian Americans who do it, and making rugs from old clothes is a long-standing tradition in many Norwegian homes.

Like Mom & Grandma, I’ve worked with fibers since childhood, mostly knitting but also dabbling in weaving, klostersøm, rug braiding, felting, and dyeing. When laid off in March 2020, and my music gigs were cancelled, I unearthed some unfinished handwork.

Marit Nelson, White Sulphur Springs, WV
handlinger

This is an appliqued art quilt inspired by Telemark rosemaling. The applique is recycled silk tie material. The background is wool suiting fabric.

I was in a fashion design program in New York City when the pandemic began. I was supposed to have my first fashion show in May. I had collected hundreds of old neckties to repurpose into garments. I started making art quilts with the material, since the fashion show was cancelled. This quilt was inspired by Telemark rosemaling. The phrase handlinger speaks to making your own happiness, because it won’t just happen.

I have always been very interested in my Norwegian heritage and have also always been an avid crafter. Naturally, the two interests collided and I started to teach myself rosemaling when I was around 10 years old.

[Editor’s note: The phrase on the quilt translates to: “Luck isn’t something that already exists; it is created by your own actions.”

Shan Rayray, Puyallup, WA
Spring Tablecloth

This tablecloth is worked in hardangersøm or Hardanger embroidery. DMC pearl cotton threads in pink and white on white Hardanger 22-count fabric.

I wanted to make a tablecloth for entertaining my Norwegian friends. I found this design in a German Hardanger embroidery magazine. I took their basic design and made it my own by changing the stitches of the framework, adding in design to the center squares, extending the center design edges, and adding in more detail to the hem.

I’ve been doing hardangersøm since I was a young girl. I learned from my great-great Aunt Barbro when she visited from Stavanger. She spoke no English, only old Norse. She taught me the traditional way to learn: watch and repeat.

Maree Hampton, Minneapolis, MN
Returning to Finish the Fana and Feel Loved

The Norwegian Fana sweater was knit on circular needles with worsted weight yarn with steeked armholes.

With lockdown, stress ensued. Knowing knitting calms the mind, I eagerly took to my needles. As pandemic projects became popular, I turned to finish a sweater. My mom died of a stroke in 2017. While by her side, I reached to knit my Fana project. Tears streamed down and were absorbed in the wooI. Swallowed by profound grief, I put it aside. Lockdown allowed me to finish and feel the love of my mom.

I’ve knit for 30 years. My cousin, Åshild, taught me to knit when I lived on a farm near where my great-grandparents were from. My desire to knit was driven by my love of Norwegian sweaters, hats, mittens, and my Norwegian heritage (mom’s side).

This “rag rug” is made with 8/4 cotton carpet warp threaded in a rosepath design and cotton sheeting for the weft. I experimented with a variety of treadlings.
     

On recent travels to Scandinavia, I’ve purchased a number of weaving books and photographed a number of rugs on the floor of various museum buildings. When the pandemic hit, I put a long warp on the loom and experimented with rosepath designs. This rug contains a number of designs from photos and books.

 

I’ve been a rug weaver for several decades, but until recent travels in Scandinavia introduced me to different styles, I had not varied my construction methods. I’ve recently added rep weave and rosepath designs to my repertoire.

This is a transparent hanging of 16/2 line linen warp with inlay of line and tow linen and securing shots of line linen. The technique is similar to tapestry, but with finer yarns. 

 

Late in the winter of 2020, I set up my loom for my piece for the Baldishol exhibition at Norway House in Minneapolis, and started weaving in early March. I needed a test piece and also wanted a gift for a Viking-loving relative in Norway, whom we were to visit. Alas, we could not travel, and his Viking reenactment trip to Iceland in summer was also canceled, so I was inspired to make him some ships.

 

My mother introduced me to weaving, and as a teenager I took a class from Lila Nelson. A trip to Norway in 1970 and working at Valdres Folkemuseum in 1972 piqued my interest. I spent 1974 in weaving school in Norway and brought home my loom.

The midband “O” is a 13-strand pickup weave of an åttebladsrose or eight-petal flower symbol for the sun. The “X” is known as St. Andrew’s cross and was believed to deflect evil before it entered the body. The edge patterns are from West Telemark.

 

Our family celebrated a June baptism during 2020. A mask was required of the ten people who could attend the church service. Norwegian tradition requires the wearing of a bunad (national costume) to this celebration. My bandweaving unified all requirements of all ages by making a bunad mask. The XOX motif is repeated to confuse the virus from entering our lives.

 

I am an artist who searches for visual connections and meanings. I married a Norwegian, this fact became a lifelong research into Norway, family, food, history, crafts, and habits. Retired after 44 years in teaching, I have become a band weaver.

“Nativity Scene with Dog and Cat” and Starring Roses,” are done in hedebosøm or Hedebo needlework.

 

My wife has over 200 nativity scenes in a variety of mediums. I wanted to make one for her collection using hedebo needlework. It was a creative challenge while waiting out COVID-19.

I made 36 rose ornaments for our Christmas tree and decided to try using the pattern in a doily. I also wanted to incorporate black thread which is difficult to see and work with in needlework. It was something I could do evenings while homebound because of the pandemic.

I am a retired Lutheran pastor. I began working with hedebo needlework in 1985, and have done it steadily since I retired in 2000. I enjoy creating new patterns and pieces, so it is a way of expressing my God-given gift of creativity.