Scandinavian Weavers Study Group

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  • The Genius of a Great Exhibit Installation

    Everyone visiting the new exhibition at Norway House, “Vibrant Tradition: Scandinavian Weaving in the Midwest,” is struck by the intensity of color and texture on the walls lined with weavings. Carstens Smith, Education Coordinator at Norway House, stood in the center of the gallery and said seriously, “You really have to come in person. You can’t capture it fully on film or video.” So you should come!

    Another reason the exhibit is so striking is the amazing work of the team that installed the show. Three days were scheduled to fit the 49 submitted pieces into the gallery. Three veterans of many exhibition installations — Beth McLaughlin, Phyllis Waggoner, and Susan Larson-Fleming — took the lead, laid out the weavings, and hung them beautifully by the end of the first day! Beth Detlie and Peg Hansen provided crucial support; they prepped the tangled hanging devices and made runs to the hardware store for supplies. 

    On Wednesday Melba Granlund came in to set up her warp-weighted loom, the centerpiece amid the visual feast of textiles.

    The installation team did a magnificent job of arranging weavings that worked together, and enhanced each other in terms of color, size and texture. They used every inch of space to advantage. The result is exuberant.

    In this narrow area between two windows, Nancy Ellison’s shaggy rya is a stark contrast to Patty Johnson’s complex piece woven on a drawloom.

    Nancy’s seat cover was woven in rya, or pile technique, and she used unspun locks of wool in the natural colors of her Icelandic sheep for the knotted pile. The piece is thick and rough in texture. It is a stark contrast to Patty Johnson’s refined weaving below it, with smooth linen yarn and woven on a complex loom where pulleys pull up threads to create the floral pattern.

    Description of Nancy Ellison’s “Sitting Cozy“
    Description of Patty Johnson’s “Traditional Flowers“
    All the pieces in the show

    Variety is a hallmark of “Vibrant Tradition: Scandinavian Weaving in the Midwest.” Come to Norway House to see all the techniques and materials and colors used by members of the Scandinavian Weavers Study Group. Let us know your favorites!

    Vibrant Traditions: Scandinavian Weaving in the Midwest

    Norway House and the Scandinavian Weavers Study Group of the Weavers Guild of Minnesota present an exhibit of 49 contemporary and traditional weavings in the Scandinavian tradition

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

    Free for members of the Weavers Guild of Minnesota and Norway House; all others $5.
    See the Norway House website for the building hours of operation.

  • Phyllis Waggoner: Phyllis in an Östergötland Dräkt

    Phyllis Waggoner

    Phyllis in an Östergötland Dräkt


    NFS

    Bio: Phyllis Waggoner has a BA in Art Education and a Masters degree in Design, from the University of Minnesota. She traveled to the Southwest with faculty and students of the University of Wisconsin, River Falls, studying the culture and weaving of the Hopi and Navajo people. Additional weaving classes include: The Marshfield School of Weaving in Vermont, taught by master weaver, Norman Kennedy, The Gotland Hemslöjd, in Visby, Sweden and The Weavers School, with weaver and author Madelyn van der Hoogt. Phyllis was awarded the American Swedish Institute Lily Lorenzen scholarship for study in Sweden and in March, 1999, she attended the weaving course offered at the Comvux school for adult education in Upplands Väsby, where she focused on drawloom weaving with weaver, teacher and author Kerstin Lovallius. Phyllis has taught classes in Color and Design and Weaving for the Extension Division of the University of Minnesota; The Art Center of Minnesota; The Norwegian-American Museum in Decorah, Iowa; The American Swedish Institute (ASI); and The Weavers Guild of Minnesota. She has volunteered for over 30 years at the American Swedish Institute, working with their textile collection. She was a guest curator for three exhibitions: Dreams of Home, Swedish Woven Coverlets; Hilma Berglund, Swedish Immigrants’ Daughter; and The Fabric of Life, Textiles from the ASI Collection. Articles featuring her work have appeared in The Weavers Journal, Handwoven and New Sweden Minnesota. She is a longtime member of the Weavers Guild of Minnesota.

    Description: Early in my weaving pursuits I visited the American Swedish Institute to examine the textiles in their collection. Their Bunden Rosengång coverlets reminded me of Flamestitch embroidery, they were so colorful, I was hooked. Soon I began volunteering at the ASI, helping with cataloging, photographing, storing the textiles and assisting with exhibits. When they received a gift of the Swedish National costume, it was decided to exhibit it along with other folk costumes (Dräkter) in the ASI’s collection. It happened that I had a warp on my loom to weave figures, and so I wove Phyllis in a Swedish Costume. It has been a privilege to be a volunteer at the ASI for so many years, I’m very grateful. 

    This was the style of Swedish costume that Phyllis was emulating in her boundweave pillow.

    rpwaggoner2@gmail.com

  • Phyllis Waggoner: Self Portrait with Squares and Lucky

    Phyllis Waggoner

    Self Portrait with Squares and Lucky

    NFS

    Bio: Phyllis Waggoner has a BA in Art Education and a Masters degree in Design, from the University of Minnesota. She traveled to the Southwest with faculty and students of the University of Wisconsin, River Falls, studying the culture and weaving of the Hopi and Navajo people. Additional weaving classes include: The Marshfield School of Weaving in Vermont, taught by master weaver, Norman Kennedy, The Gotland Hemslöjd, in Visby, Sweden and The Weavers School, with weaver and author Madelyn van der Hoogt. Phyllis was awarded the American Swedish Institute Lily Lorenzen scholarship for study in Sweden and in March, 1999, she attended the weaving course offered at the Comvux school for adult education in Upplands Väsby, where she focused on draw loom weaving with weaver, teacher and author Kerstin Lovallius. Phyllis has taught classes in Color and Design and Weaving for the Extension Division of the University of Minnesota; The Art Center of Minnesota; The Norwegian-American Museum in Decorah, Iowa; The American Swedish Institute (ASI); and The Weavers Guild of Minnesota. She has volunteered for over 30 years at the American Swedish Institute, working with their textile collection. She was a guest curator for three exhibitions: Dreams of Home, Swedish Woven Coverlets; Hilma Berglund, Swedish Immigrants’ Daughter; and The Fabric of Life, Textiles from the ASI Collection. Articles featuring her work have appeared in The Weavers Journal, Handwoven and New Sweden Minnesota. She is a longtime member of the Weavers Guild of Minnesota.

    Description: Many years ago, Clotilde Barrett, author of Boundweave and original publisher of The Weavers Journal, taught a boundweave workshop for our Weavers Guild. Among the many things she covered were weave structure, drafting, and practical weaving techniques; we learned to design and weave squares, figures, and tricky patterns. Later, I set up my loom with a four shaft overshot threading and 2/2 twill tie-up and began weaving ‘figures’ – Santa Claus, angels, my husband, me, and… my cat, Lucky. Eventually Clotilde sold The Weavers Journal to Karen Searle and Sue Baizerman of St. Paul, and it was my good fortune to be a part of that staff. (Sure miss staff meetings which were fueled by milk and Oreos from Herbst grocery store downstairs.) I wrote an article about my boundweave pillows which was published in the magazine’s issue # 38.

    Phyllis with Lucky, obviously at Christmastime.
    More recently, Phyllis displayed the boundweave pillow at a meeting of our Scandinavian Weavers Study Group. (Nancy Ebner is to her left.)

    rpwaggoner2@gmail.com

  • Patty Kuebker Johnson: Shades of Red

    Patty Kuebker Johnson

    Shades of Red

    21″ x 12″

    Cotton warp and weft

    NFS

    colorcrossing.com

    Bio: Patty began her weaving journey in 1990 when she purchased a used Glimåkra loom and set up her own weaving studio. Her early projects were inspired by Mary Black’s book The Key to Weaving, and she later expanded her knowledge by attending various classes and conventions, such as those at The Weaver’s Guild of Minnesota, Vävstuga, Midwest Weavers , and Convergence®. Patty credits her progress and joy in weaving to the support and friendships of fellow weavers. Over the years, Patty has explored both simple and complex weaving structures, creating practical and decorative pieces for the home and personal attire. She finds constant inspiration in learning new techniques. Patty was a key figure in the creation of the Textile Center of Minnesota and continues to support the local fiber arts community through her involvement with the Weaver’s Guild of Minnesota, Phipps Center for the Arts, and as the owner of Color Crossing Artist Studios in Roberts, Wisconsin.

    Description: My first draw loom class was with Joanne Hall at Color Crossing, followed by a class at Vävstuga. “Shades of Red” is a study on color and changing the designs along the way. My goal was to expand my ability to design on the draw loom.

    Regarding the Scandinavian Weavers Study Group: The Scandinavian Weavers have enriched my weaving and personal life. Everyone is supportive in all ways. The members of the group help me explore various techniques I might otherwise not think about. I’m so blessed to be part of this fantastic group of weavers!

    pakj52@gmail.com

    Patty Johnson’s draw loom in her studio at Color Crossing in Roberts, Wisconsin

  • Lisa-Anne Bauch: Aegean Norwegian

    Lisa-Anne Bauch

    Aegean Norwegian

    24″ x 36″

    Linen warp, wool weft

    NFS

    Bio: Lisa-Anne Bauch is a Minnesota-based weaver whose work explores traditional Scandinavian techniques in contemporary color palettes. Her work has been exhibited throughout the Midwest and in Finland. She is an active member of the Scandinavian Weavers Group of the Weavers Guild of Minnesota and maintains the group’s blog at scandinavianweaversmn.com. As a freelance writer, Lisa has written for the Norwegian Textile Letter, PieceWork magazine, and Väv magazine (coming in 2025).

    Description: I wove this rug in Wynne Mattila’s class in krokbragd technique at the Weavers Guild of Minnesota. The colors remind me of ancient pottery.

    Regarding the Scandinavian Weavers Group: It has been wonderful to find a group of weavers who share my passion for Scandinavian weaving traditions. Along with my excellent instructors at the Weavers Guild of Minnesota, the Scandinavian Weavers have expanded my knowledge, improved my technical skills, and cheered me on me when I got discouraged. Best of all, it’s fun!

    labauch@outlook.com

  • Patty Kuebker Johnson: Traditional Flowers

    Patty Kuebker Johnson

    Traditional Flowers

    29″ x 12″

    Cotton warp and weft

    NFS

    colorcrossing.com

    Bio: Patty began her weaving journey in 1990 when she purchased a used Glimåkra loom and set up her own weaving studio. Her early projects were inspired by Mary Black’s book The Key to Weaving, and she later expanded her knowledge by attending various classes and conventions, such as those at The Weaver’s Guild of Minnesota, Vävstuga, Midwest Weavers , and Convergence®. Patty credits her progress and joy in weaving to the support and friendships of fellow weavers. Over the years, Patty has explored both simple and complex weaving structures, creating practical and decorative pieces for the home and personal attire. She finds constant inspiration in learning new techniques. Patty was a key figure in the creation of the Textile Center of Minnesota and continues to support the local fiber arts community through her involvement with the Weaver’s Guild of Minnesota, Phipps Center for the Arts, and as the owner of Color Crossing Artist Studios in Roberts, Wisconsin.

    Description: “Traditional Flowers” is a beginning draw loom project.

    Regarding the Scandinavian Weavers Study Group: The Scandinavian Weavers have enriched my weaving and personal life. Everyone is supportive in all ways. The members of the group help me explore various techniques I might otherwise not think about. I’m so blessed to be part of this fantastic group of weavers!

    colorcrossing@sbcglobal.net

    Patty’s draw loom in her studio at Color Crossing in Roberts, Wisconsin

  • Lisa-Anne Bauch: Northern Lights

    Lisa-Anne Bauch

    Northern Lights

    19″ x 19″

    Linen warp, wool weft

    NFS

    Bio: Lisa-Anne Bauch is a Minnesota-based weaver whose work explores traditional Scandinavian techniques in contemporary color palettes. Her work has been exhibited throughout the Midwest and in Finland. She is an active member of the Scandinavian Weavers Group of the Weavers Guild of Minnesota and maintains the group’s blog at scandinavianweaversmn.com. As a freelance writer, Lisa has written for the Norwegian Textile Letter, PieceWork magazine, and Väv magazine (coming in 2025).

    Description: I wove this piece in Rosepath technique during a Scandinavian Weavers group project. The abstract design is meant to suggest a snowy pine forest and a night sky with the Northern Lights overhead.

    About the Scandinavian Weavers Study Group: It has been wonderful to find a group of weavers who share my passion for Scandinavian weaving traditions. Along with my excellent instructors at the Weavers Guild of Minnesota, they have expanded my knowledge, improved my technical skills, and cheered me on me when I get discouraged. Best of all, it’s fun!

    labauch@outlook.com

  • Kelly Marshall: Wise Virgin

    Kelly Marshall

    Wise Virgin

    12″ x 12″

    Seine twine cotton warp, wool weft

    NFS

    kellymarshall.com
    Insta: customwoveninteriors

    Bio: Kelly Marshall’s textiles are inspired by traditions, from historic patterns to modern abstractions. Color is examined in the detailed blending of the threads, while undulating texture creates visual shadows and tactile pleasure. Created for functional use, Marshall’s textiles bring beauty to commercial and residential settings and add celebration to everyday living. She has a BS degree in Applied-Design Textiles from the University of Minnesota and studied design and weaving structure for one year in Forsa, Sweden. She founded the Minneapolis based company Custom Woven Interiors in 1992 and in 2012 self-published Custom Woven Interiors, Bringing Color and Design Home with Rep Weave.

    Description: Lila Nelson was a patron of my textiles and a dear friend. She was my mentor and even assisted me when teaching my first ever weaving workshop at the Vesterheim Norwegian-American Museum in 2003. She shared with me many of her billedvev tapestry weavings over the years, one of which was The Wise and Foolish Virgin. In honor of her friendship and her life long contribution to Norwegian heritage, textiles, teaching and mentoring, I wove this billedvev tapestry. It depicts Lila, strong and smart, upon a horse holding a candle or light, not one of the foolish virgins holding a handkerchief with a swollen belly. I took a billedvev tapestry weaving class at the Vesterheim Museum from Robbie LaFleur to learn the technique.

    kelly@kellymarshall.com

  • Brenda Gauvin-Chadwick: Bergen Blue

    Brenda Gauvin-Chadwick

    Bergen Blue

    18.5″ x 18.5″

    Cotton warp, linen weft

    NFS

    Bio: Brenda Gauvin-Chadwick has loved textiles since she was a young child, sewing her own clothes, knitting, embroidering, and of course making pot holders on a pot holder loom. She learned to weave in her late twenties from a very talented Swedish weaver in upstate New York, and with the exception of taking a hiatus when her children were young has continued to weave. She belongs to the Minnesota Weavers Guild and studies Scandinavian techniques with Scandinavian Weavers Group.

    Description: I went to Bergen, Norway with a group of weavers from the Scandinavian Weavers Group in May of 2023 where we took a week long course on Norwegian weaving techniques. There I learned the rip technique in a very subtle intricate pattern. The warp was French DMC Cotton sett at 48 ends per inch. The weft was 16 (e.g. 16/1) linen at 36 picks per inch. The loom was set with such a high degree of tension on the warp that a paper pirn-bobbin bounced on it! Great fun!!!

    brenchadwick@gmail.com

  • Veronna Capone: Red vs. Black

    Veronna Capone

    Red vs. Black

    4 pieces, each 6″ x 6″

    Linen warp, wool weft

    NFS

    Bio: Veronna began to learn how to weave while taking adult education classes in Whittier, California and found ways to learn the techniques, vocabulary, materials, looms, history, and applications while moving from one part of the US to another. While both of her grandmothers wove, one for making money, one out of necessity, the knowledge skipped a generation and she learned from others by taking classes, workshops, and travel.

    Description: One of the weaving interest groups I follow had a year long emphasis on using the color RED. And I experimented with how red could hold its own even against a strong opposition in the simplest way. The techniques are rutevev and lynyld.

    Regarding the Scandinavian Weavers Group: The study group is both intimidating and inspirational, people with great skill, talent, and energy to learn, share their wealth of knowledge, and keep the treasure of weaving activity lively and full of opportunity.

    venopac@swiftel.net

    Read more about Veronna’s weaving background in this article, “A Gold Medal and Gifts.”