In previous centuries the crosses formed in boundweave patterns had more direct and religious meaning to weavers and users of textiles.  Most contemporary weavers use the geometric patterns created by the weave structure as design elements rather than protective symbols.

One weaving in the show does use crosses as intentional symbols – as grave markers in a cemetery.  Nancy Ellison’s “Pasture by the Cemetery” includes krokbragd  crosses, charming black sheep and white sheep, fences, ladies,  farmers, and dark-suited pastors with hats.


Inspired by a cradle coverlet in a Swedish museum, Jan Mostrom wove a rosepath cradle coverlet from a pattern in a Swedish book,  Väva efter gamla mönster på fyra skaft (cover photo) by Lena Nessle.  Similar baby coverlets were sometimes made from many narrow bands sewn together, but the pattern in the book uses rosepath for a similar densely-patterned effect.

Patty Kuebker-Johnson runs Color Crossing, a fabulous yarn shop, gallery, and studio space in Roberts, Wisconsin.  She has often said she doesn’t have time to get her own weaving done.  That may be true,  but she is responsible for helping many other weavers learn about looms and weave structures.

Patty’s  monochromatic krokbragd piece with danskbragd pickup, Purple Haze, is a beautiful study in geometry.  So many of the pieces in the exhibit have eye-catching, high-contrast  color combinations.  Patty’s piece draws you in with subtle shades of purple and gray forming restful lines and diamonds and crosses.

While shopping one day, Sara Williams was enchanted by several autumn-colored cotton fabrics.   She loaded six bolts in her cart, three solid colors and three plaids.  They are now in a six-foot long rosepath rug.  Two details are shown here.  It’s so interesting to see how the plaids lose their plaid-ness, but add richness and depth to the colors in the rug.

Sara planned two rugs, the first one using solids as the background and the plaids as the pattern elements, and the second rug using plaid for the background and solids for the patterns.  How different would they be?  Her hard lesson learned?  Be sure to buy enough fabric to start!  Despite looking for more at several fabric stores, one fabric color is gone.

The second rug will no doubt be beautiful.  Come to think about it, doesn’t this happen with projects all the time – the weaving in the end is not the one you first envisioned?

Judy Larson’s vibrant rug was woven with fabric strips as weft.  The krokbragd surprise began with the realization that she had tied up the loom incorrectly, and the weaving was upside down.   Instead of seeing the crisp design on top, the visible side showed the long floats that are normally on the reverse.  She decided to continue weaving without climbing under the loom to redo all her setting-up work.  So the first time she saw the how the pattern really looked on the right side was after she finished and took it off the loom. It was a fun and pleasant surprise!

Subtle patterns in shades close to one another

These are both details of the same piece!

Ann Haushild’s amazing piece has an overall sense of calm, despite the fact is it filled with contrast.   Red,  green,  gold, dark midnight blue,  and snowy white are all pulled together with delicate geometry.  The bold color bands pop out when it is viewed at a distance.  Closer up you discover subtle patterns created with shades of the colors.  Those details are shown here.

Syvilla Bolson (detail)

Robbie laFleur Moore (detail)

Syvilla Tweed Bolson and I are showing pieces woven in the Flesberg boundweave technique, a three-shaft krokbragd on rosepath threading, typical of the Flesberg area in Numedal, Norway.  Samples and drafts of many patterns from old textiles were compiled by the Flesberg Farm Women’s Organization in the 1990s.  Many American weavers, including Syvilla and me, participated in a Flesberg Study Group in 2004.  We kept on exploring.

Syvilla aimed for a modern-looking piece, combining two patterns in a bold black-and-red color scheme.  She wove it to be displayed as a wall hanging or large runner, but now displays it draped over a tall chair back.  It is woven on black seine twine at six ends per inch.  The warp is Norwegian Rauma åklaegarn, and the resulting fabric is soft, with a drapey quality.

I wove a wall piece with bands in many patterns and colors.  The warp is the same, but sett at 10 ends per inch.  The weft is Norwegian Rauma prydvevgarn, thinner than the yarn Syvilla used.  As a result,  the pattern is finer in scale on my piece, bolder on Syvilla’s.  My 10 epi wall piece is stiffer.