This blog is intended to share information about the Scandinavian Boundweave: Timeless Traditions exhibit, and share stories about several of the pieces – to document the show for ourselves and to share our experiences with other weavers and our friends and families.

Show details:

April 21 – May 22, 2010

Textile Center of Minnesota3000 Southeast University Avenue
Minneapolis, MN 55414-3357
(612) 436-0464
Get directions

Background on the Scandinavian Weavers:

The Scandinavian Weavers Study Group of the Weavers Guild of Minnesota has been meeting for inspiration and education since the mid-1990s. Each year or two the group chooses a weave structure to study and we help one another in our explorations.  There may be a formal workshop set up to learn a technique, but more often the tutoring is by way of information sharing – of plans, problems along the way, and finished pieces.  Most studies result in an formal or informal exhibit.

Our 2009-2010 study of various boundweave patterns led to the Textile Center Community Gallery exhibit, Scandinavian Boundweave: Timeless Tradition. (exhibit flyer: tradition1)  For fans of krokbragd and bound rosepath patterns, or anyone who is intrigued by 21rst-century weavers approaching a traditional technique,  this is a great collection.

Creativity is sparked by challenge.  Veronna Capone’s wove with vibrant hand-dyed wool she purchased from Mary Zicafoose, the “extras” left at the end a workshop.  Robbie LaFleur translated an article from a 1983 Norwegian magazine and recreated “The Old Pattern,” with motifs from Lom and Skjåk in Gudbrandsdal.  Sara Williams was drawn to a palette of fabric colors while shopping one day and decided to weave a large boundweave rag rug.

On a recent trip Mary Skoy and Jan Mostrom were captivated by a museum exhibit of cradle coverlets at the Zorn Museum in Mora, Sweden.   The small coverlets had narrow stripes, were edged with woven bands, and had festive tassels.

The squares of the geometric krokbragd pattern can be graphed to create rows of small figures. In Nancy Ellison’s fresh and appealing “Pasture by the Graveyard,” pastors, grave markers, and sheep line up on a grassy green background.

These are just a few of the 21 pieces featured in the exhibit!  (Details from some pieces are in the grahic at the top of the blog.)

The “Timeless Tradition” exhibit is a great opportunity to see how boundweave pieces vary greatly depending on the materials.  Thin wool gives a fine, precise result.  Heavier wool and thin fabric strips, woven on fewer warp ends per inch, yield a bolder, graphic impact.

Boundweave coverlets were prominent in many Norwegian homes, adorning the wooden corner beds, as in this photo from the Vesterheim Norwegian-American Museum in Decorah, Iowa.

Boundweave holds the same appeal to contemporary weavers as it might have to a 19th-century weaver on a Norwegian mountainside farm.  The technique can be tricky, but is relatively easy to learn.  It gives the weaver wide latitude in creativity with color and pattern.  As the nineteenth-century women threw the shuttle at their looms, I’m sure they were as captivated as we are at the magic of designs unfolding on the loom – just by choosing the right color to enter.  But they surely couldn’t have imagined some pieces in the show.  Sara William owned an interesting vintage telephone table in need of reupholstering.  Melba Granlund wove a computer bag. None of the contemporary pieces are headed for a corner bed!

Coffee reception and opening celebration:  Saturday, April 24, 10 am – 2 pm.

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