While I have woven a wide variety of techniques over the years, my focus is primarily on Norwegian techniques, most often with a contemporary twist in materials, images, or techniques.
“Wooly Ice Cream” (2017) was woven in krokbragd and danskbrogd techniques, one of a series of hangings in those techniques. Read more here and here.
I teach a workshop in Norwegian billedvev (tapestry) and have woven many small pieces with elements taken from medieval tapestries to use as examples, like this horse head.
Below is a tapestry from 2000, “Oldemor med høner,” (Grandmother with chickens), woven after a photograph of my great-grandmother in traditional medieval billedvev.
This billedvev is similar to several Medieval Norwegian tapestries of figures on horses, except in this case the figure becomes my daughter, cell phone in hand. (Also, note the surveillance camera on the tree.)
After studying with the Swedish weaver Helena Hernmarck I wove a portrait of my brother, a small dot of wool in this landscape of a northern Minnesota wheat field.
I am a great fan of rya. My most-exhibited piece pays homage to Edvard Munch.
This piece incorporates rya, in the traditional Norwegian star. Read more.
I often weave pieces in bands–never completely symmetrical, but seeking balance. This is in Vestfold technique.
Another piece is woven in a three-shaft bound rosepath technique, Flesberg.
Let me know if you would like to see additional photos of pieces in any of these techniques. Email.
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