Scandinavian Weavers Study Group

Category: Norwegian weaving

  • Kala Exworthy: Towels in the Colors of Norwegian Rosemaling

    Kala Exworthy

    Towels in the Colors of Norwegian Rosemaling

    34 “x 24″ x 3”

    Cotton warp and weft

    loomsong.com

    Bio: Kala learned to weave in Sandefjord, Norway in 1980. It took a few years, but she finished her BFA in Fiber Art at Northern Michigan University. Now, any available time is spent living her dream; enjoying her studio space and teaching at the Weaver’s Guild of Minnesota in Minneapolis as well as folk schools and non-profits. “Weaving, with its endless possibilities, fascinates me. It’s like creating a tangible story with a purpose. The texture of the thread, the color it’s next to, the direction it’s laying, the light it’s exposed to, all influence what we see. My favorite ingredient is the color, I can play endlessly with color combinations and textures.”

    Description: These towels were inspired by artifacts at Vesterheim Norwegian-American Museum in Decorah, Iowa. The photos show the artifacts which were painted at different times in history. I like weaving memories that are developed by looking at the colors and then making something that can be used everyday.

    Regarding the Scandinavian Weavers Study Group: The Scandinavian Weavers group is a wonderful community. The sharing and encouragement among members is exactly what a study group should be there for. It’s exciting to try new techniques as a group and brainstorm with people who understand the vision.

    kala.exworthy@gmail.com

    Colors inspired by a rosemaled plate by Gretchen Carew

  • Peg Hansen: Beltestakk Hårbånd

    Peg Hansen

    Beltestakk Hårbånd

    8″ diameter crown with 18″ ribbon tails
    Wool Beltegarn, Almankås Telemarksbunader
    NFS

    Bio: Peg Hansen attended the University of Wisconsin River Falls in the late 1980s for the purpose of learning to weave fabric for sewing garments. As it turned out, she instead pursued a career in teaching Visual Art to Red Wing High School students for 20 years. After that she got back to her fiber roots and started weaving in earnest. Being in the Scandinavian Weavers has provided the opportunity to learn about many weaving techniques from group warps and the sharing of knowledge by amazing group members. Weaving trips to Norway and most recently, Peru have proven to be highly educational and motivating. In addition to the classes at the Weavers Guild of Minnesota, Peg has taken classes at North House Folk School in Grand Marais, MN and Vesterheim in Decorah, Iowa. Peg is also a member of the Zumbro River Fiber Arts Guild

    Description: I learned card weaving long ago as a weaving student at the University of Wisconsin River Falls. Little did I know that one day I would find myself immersed in all fiber things Norwegian. I started making a Beltestakk Bunad for myself in 2018 when I went on a tour to Norway with my bunad instructor, Sue Sutherland of Ely, MN. I spotted one version with silk embroidery on wool fabric and I was hooked. Woven accesories are important for a complete costume. Card weaving goes back centuries in Norwegian textile traditions. It is the chosen technique for hårbånds and the wide belt of this particular Telemark bunad. The colors I chose are from the town of Bø, Telemark in Norway.

    Regarding the Scandinavian Weavers Group: Learning about the technique used for the hårbånd was what drew me to The Weavers Guild of Minnesota. I first joined the Banditos Band Weaving group since their focus is weaving bands from cultures around the world. Through them I learned about the Scan Weavers. Even though I live 60 miles away, I am able to attend meetings more often since Covid allowed for the development of online meetings alongside the in-person meetups. The study groups have provided the opportunity to get to know weavers more personally. In fact, it was though this group that I was able to actually tour and weave my blanket (shown elsewhere in this exhibit) in Norway. I love the community warps that give me the opportunity to learn and practice the craft.

    pegandrayhansen@gmail.com

  • Lisa Torvik: Hordaland 3rd Gen

    Lisa Torvik

    Hordaland 3rd Generation

    56″ x 39 1/2″ x 1/16″
    Linen warp, linen and cotton weft
    NFS

    Bio: Lisa Torvik credits early influences of her mother, grandmothers, aunts and friends in the US and in Norway for her knitting, sewing, embroidery and weaving interests. She spent a year in her youth studying weaving at Valdres Husflidsskule in Fagernes, Norway and now focuses on projects in traditional Norwegian techniques and more contemporary applications.

    Description: After I finished my “Kalendar” piece for our Baldishol exhibition at Norway House in 2020, I had about 2-3 yards of warp left on the loom. A combination of upcoming shows and our “stash busting” challenge inspired me to get that warp off the loom, but what to weave? I looked at my Hordaland teppe hanging on the wall and just started weaving it up as a transparency, from the bottom up until I ran out of warp. I improvised designs to fill the border areas, and I used primarily what I had on hand, including different weights of linen and perle cotton.

    content1627@gmail.com

  • Judy Larson: Nicross (Nine Cross)

    Judy Larson

    Nicross (Nine Cross)

    42 x 42”
    Seine Twine warp with quilting cottons as weft
    NFS

    Bio: Judy Larson began weaving when her mother got her great-grandmother’s loom out of the grainery 22 years ago. She was given a used loom, and began her learning journey, always ready to take on a challenge. Primarily a rug weaver, she enjoys using fabrics in creative ways and exploring Scandinavian weaving traditions. Retired from teaching elementary school, she now teaches weaving and enjoys sharing her passion with weavers of all ages. Judy Larson now has a weaving studio at Color Crossing in Roberts, Wisconsin where she weaves on an 8-foot Cranbrook loom and a 10-foot Glimakra loom. She incorporates several different techniques such as shaft switching, taquete, and rosepath into her weavings. She is the leader of the Rag Rug group at the Weavers Guild of Minnesota and is also active in the Scan Weavers and New and Occasional Weavers study groups. Weaving encourages her to play with color, texture, design, pattern, and materials. There is enough challenge and new learning to keep her busy for years, creating pieces that are uniquely hers, while still being functional. Combining design, color, and durability always leads to wonderful surprises, even when carefully planned out, which keeps weaving both amazing and satisfying.

    Description: This piece was inspired by a Nicross (9 cross) design on wallpaper at Vesterheim in Decorah, Iowa. Taking that design and recreating it as a square weave wall hanging was a lesson in patience, persistence, and careful counting! The initial block pattern was off, so it was unwoven and rewoven with the correct block placement. Using blue and yellow fabrics instead of yarns gives the weaving a unique texture, while still honoring the initial design. This wall hanging has been shown at Vesterheim.

    Regarding the Scandinavian Weavers Group: The Scandinavian Weavers Group are skilled weavers who are inspiring others, encouraging others, and genuinely passionate about preserving traditional techniques and sharing their legacy. Being a part of this group has enhanced my own weaving skills and expanded my circle of friends. Taking on a cooperative weaving project with American Swedish Institute as part of the Karin Larsson: Let the Hand Be Seen exhibit, the members had the opportunity to demonstrate weaving for many visitors. It was so popular that visitors began asking, “Are the weavers here today?”

    chjulars77@gmail.com

  • Jane Connett: Krokbragd Belt

    Jane Connett

    Krokbragd Belt (on right)

    63”x 1 3/8”
    5/2 Perle cotton, woven on an inkle loom
    NFS

    Bio: Jane has been weaving since 1994. She has done several inkle loom techniques, including Baltic pick-up and South American pebble weaving. She plans to return to weaving more on the inkle loom.

    Description: This belt has single, double, and multiple krokbragd patterns. I wanted to try weaving a krokbragd belt with the bright gold and blue colors.

    Regarding the Scandinavian Weavers Group: I really enjoy seeing the work of all the other weavers in the group, especially the floor loom weavings.

    janetheweaver1@gmail.com

  • Edi Thorstensson: Turned Krokbragd Inkle Band

    Edi Thorstensson

    Turned Krokbragd Inkle Band

    44″ woven, 6″ fringe
    Norwegian wool
    NFS

    Bio: Edi Thorstensson has been weaving since 1963, when she enrolled in a summer class in beginning weaving at the Chicago Art Institute. The class was taught by Lurene Stone and occasionally visited by Elsa Regensteiner, who was head of the Weaving Department at the Art Institute and a noted author and textile designer. Being a student in the Art Institute School at the time placed Thorstensson in a social context very different from the Chicago suburb, La Grange, in which she had grown up and the college, St.Olaf, where she had just completed her first year. Her classmates were public school art teachers, aspiring textile designers, artist activists, students of all ages, with diverse economic backgrounds, racial identities, and life experiences and goals. The Civil Rights movement was gaining momentum, and it influenced students’ relationships to each other both inside and outside the classroom. For Thorstensson, the summer weeks of 1963 at the Chicago Art Institute, was an introduction to weaving much more than cloth. Thorstensson has continued her textile studies at Mora Folkhögskola and Skånska Hemslöjd in Sweden, in Tromsø and other settings in Norway, and, in the US, Sievers School of Fiber Arts, the Weavers Guild of Minnesota, North House Folk School, and Vesterheim Norwegian American Museum. She has taught weaving classes at Gustavus Adolphus College and the Arts Center of St. Peter. She is a retired librarian and college archivist who lives in St. Peter, Minnesota.

    Description: I brought this inkle loom krokbragd as a show-and-tell to the Scandinavian Weavers exhibit in Red Wing Arts in Red Wing, Minnesota. It was a fun chance to try something new. I now see this as a wonderful way to weave very substantial bands that can stand up to wear and tear. I love this technique when used with the right warp and weft.

    Regarding the Scandinavian Weavers Group: The study group has been a wonderful enhancement and continuation of the Norwegian Textile focus group and publications. It is always good to connect!

    ejthor44@gmail.com

  • Edi Thorstensson: Pillow with Swedish Art Weaves

    Edi Thorstensson

    Pillow with Swedish Art Weaves


    18″ x 18″
    Warp 20/3 linen, weft wool tapestry yarn
    NFS

    Bio: Edi Thorstensson has been weaving since 1963, when she enrolled in a summer class in beginning weaving at the Chicago Art Institute. The class was taught by Lurene Stone and occasionally visited by Elsa Regensteiner, who was head of the Weaving Department at the Art Institute and a noted author and textile designer. Being a student in the Art Institute School at the time placed Thorstensson in a social context very different from the Chicago suburb, La Grange, in which she had grown up and the college, St.Olaf, where she had just completed her first year. Her classmates were public school art teachers, aspiring textile designers, artist activists, students of all ages, with diverse economic backgrounds, racial identities, and life experiences and goals. The Civil Rights movement was gaining momentum, and it influenced students’ relationships to each other both inside and outside the classroom. For Thorstensson, the summer weeks of 1963 at the Chicago Art Institute, was an introduction to weaving much more than cloth. Thorstensson has continued her textile studies at Mora Folkhögskola and Skånska Hemslöjd in Sweden, in Tromsø and other settings in Norway, and, in the US, Sievers School of Fiber Arts, the Weavers Guild of Minnesota, North House Folk School, and Vesterheim Norwegian American Museum. She has taught weaving classes at Gustavus Adolphus College and the Arts Center of St. Peter. She is a retired librarian and college archivist who lives in St. Peter, Minnesota.

    Description: Following a Vesterheim Textile Study Tour to Denmark and Norway in the summer of 2017, a number of tour participants and I traveled from Copenhagen to Landskrona, Sweden, to study Swedish art weaves with Gunvor Johansson at Skånska Hemslöjd’s headquarters. This was made possible by Scandinavian Weaver Melba Granlund, who arranged for a class for our group that would be taught in English. My piece is entirely inspired by Gunvor’s examples and her encouragement. It was woven on a pre-warped loom with a 50/10 reed, dressed with 20/3 linen warp. Weft was Swedish wool yarns, including Klippans Fårö, and Norwegian Rauma prydvevgarn one- and two-ply. I chose to mount my piece on commercial black wool fabric and embellish it with a cotton inkle-woven band and minimal hand stitching. I used a manufactured pillow case and filler to complete the piece.

    Regarding the Scandinavian Weavers Group: The study group has been a wonderful enhancement and continuation of the Norwegian Textile focus group and publications. It is always good to connect!

    ejthor44@gmail.com

  • Beth Detlie: Høstfarger

    Beth Detlie

    Høstfarger [Fall Colors]

    17′ x 45″

    Linen warp and weft

    NFS

    Bio: Beth started to weave in 2020 after retiring. She has taken classes through the Weavers Guild of Minnesota and currently weaves on a Rigid Heddle loom and a floor loom at home. Her interest is in exploring Norwegian weaving. This has led to taking a course at Vävstuga in Massachusetts and weaving at a studio in Norway.

    Description: I wove this skillbragd piece in the Fall of 2024 while participating in a Husflid weaving group in Oppdal, Norway. It was my first skillbragd weaving. The pattern is woven with 4 pattern shafts and 2 background shafts that are located several inches behind the pattern shafts. The technique is unique as the warp is threaded through multiple heddles, creating the more intricate pattern. Currently, I am focusing on traditional Norwegian weaving and exploring contemporary interpretation of these patterns.

    bdetlie7@gmail.com

  • Beth Detlie: Telemark Heritage

    Beth Detlie

    Telemark Heritage

    12″ x 48″

    Linen warp, wool weft

    NFS

    Bio: Beth started to weave in 2020 after retiring. She has taken classes through the Weavers Guild of Minnesota and currently weaves on a Rigid Heddle loom and a floor loom at home. Her interest is in exploring Norwegian weaving. This has led to taking a course at Vävstuga in Massachusetts and weaving at a studio in Norway.

    Description: I wove this piece as part of the Scandinavian Weavers’ Telemarksteppe group warp at the Weavers Guild of Minnesota. The design inspiration came from a veggteppe my husband and I received as a wedding gift from a relative in Norway in 1978. The wool was purchased in Norway and is similar to the material used in the original weaving.

    bdetlie7@gmail.com

  • Melba Granlund: Norwegian Coverlet

    Melba Granlund

    Norwegian Coverlet

    Dimensions TBD
    Seine twine for warp, Norwegian Ryegarn for weft,
    NFS

    Bio: Melba Granlund is a weaver and handcraft instructor dedicated to preserving historical Scandinavian folk art traditions. In her classes, Melba’s philosophy is to not only teach the techniques but also the historical and cultural context in which they evolved over the millennia. She demonstrates textile-related handcrafts such as nålbinding, tablet weaving and weaving on a warp-weighted loom in Viking reenacting group encampments. Melba’s primary education in textiles and folk handcraft was received through the Weavers Guild of Minnesota and the Vesterheim Norwegian-American Museum Folk Art School in Decorah, Iowa. Melba deepened her skills through further studies with instructors from Sätergläntan Institute for Craft and Handwork and the Landskrona Hemslöjden in Sweden, and the Seljord Folkehøgskole, Manndalen Husfliden, and the Osterøy Museum in Norway.

    Description: This piece is inspired by those woven by Berta Liarbø of Fitjar, Hordaland County, Norway. During her lifetime she wove around 160 coverlets, all on a warp weighted loom. It is said none of the coverlets were the same. Wow! I am drawn to the vibrant colors and variety of designs these pieces have. When I first started to weave about 20 years ago, I thought I would be a rug weaver. But when I was introduced to the variety of techniques in pieces like this one, I never looked back. They captured my soul.

    Regarding the Scandinavian Weavers Group: I have learned so much being a member of this group thanks to the generosity of spirit of its members. I can’t say enough good things about them.

    melba.granlund@gmail.com