Four of Robbie’s pieces at Norway House have similarities; they all include bands of color and design and are woven in fairly large scale in Scandinavian wool.
Traditional Norwegian symbols often appear in Robbie’s weaving, sometimes in an unexpected scale or materials. “Scandinavian Star” highlights a single Norwegian star, dense in shade of red rya pile. Read more about the piece in “An Eight-Pointed Star in Rya.” ($900)
Bright bands of red, orange, and pink compose a wall hanging (or rug) made in Flesberg technique. “Flesberg” is a three-shaft bound weave technique found in that area of Norway. Read more in “A Red Rug for the Vesterheim Exhibit.” ($800)
Recently, Robbie has been experimenting with Danskbrogd, a boundweave technique found in the area of Vest Agder, near Kristiansand in Norway. Here is a detail from a piece seen in Norway earlier this summer.
Below is an experiment in gray, with a pop of red. Read more in “How Long Did that Take to Weave?” and “Danskbrogd Instruction.” ($800)
Robbie was steeped in gray during a gray winter month, so the next step was to move to color. The X design became bigger and bolder, on stripes of purple. Read more in “A New Weaving, and Red Bits for the Birds.” ($900)
Robbie LaFleur, from Minneapolis, Minnesota, has been following a thread of Scandinavian textiles since she studied weaving at Valdres Husflidsskole in Fagernes, Norway in 1977. She has continued her study with Scandinavian instructors at workshops in Norway and the U.S. Recent projects include interpreting Edvard Munch’s “Scream” painting into a variety of textile techniques and weaving tapestry portraits of her relatives. She was awarded the Gold Medal in Weaving from the Vesterheim Norwegian-American Museum in 2006. Robbie coordinates the Weavers Guild of Minnesota Scandinavian Weavers Study Group and publishes the quarterly online newsletter, The Norwegian Textile Letter.
I am a handweaver of contemporary textiles inspired by Scandinavian folk textiles. The language of my looms is based on centuries-old techniques, learned in weaving school in Norway. The core graphic impact of old folk textiles drives each new weaving, in a search for balance, color and boldness. Even when the planning process is computer-assisted, or a technique is done at a new scale or in unusual materials, I honor the fine craftsmanship of the past.
The exhibit will be up at Norway House in Minneapolis through September 10.
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