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Inger Johanne Rasmussen: Tumbeling blocks, detail, 2006 Photographer: Renato Langfeldt

‘Of course I have some thoughts about it, but I can’t say that you pinpoint an important aspect of my work by addressing the topic of Nordic identity.’ So says textile artist Inger Johanne Rasmussen. Over the past 25 years she has exhibited her uniquely patterned textile pictures in Poland, Sweden, Thailand and Germany, and decorated several Norwegian embassies. Later this month she will present a new work at COLLECT, an international art fair for contemporary objects held at the Saatchi Gallery in London.

Confronted with the question of whether or not she feels there is a similarity between contemporary Nordic craft artists, Rasmussen stresses that she does not think of herself in any way whatsoever as a representative of a Nordic or a Norwegian expression.

And right now she seems to be more interested in British textile history:

‘In connection with COLLECT, it’s relevant to mention that lately I’ve been interested in a British tradition of silk design from the early 18th century called the ‘bizarre’ style.’

In her studio on the island of Hovedøya near Oslo, there are lots of books with pictures from the history of textile art. She picks up one that features various patterns in the ‘bizarre’ style.

‘Because James Leman belonged to the realm of textiles, he wasn’t mentioned in art history. But to me, being educated as both a craft artist and a contemporary artist, I have at least two histories I can draw inspiration from – art history and folk art or decorative arts.’

Rasmussen suggests that there may after all be one Nordic trait: a tendency to blur the boundaries between craft art and fine art, to incorporate strategies from contemporary art practises into the work processes of the craft artist. But then again, she adds, this might just be where the crafts as partly-academic disciplines are at today. Inger Johanne Rasmussen: Avskårne blomster (Cut flowers), 2006, 242×363 cm Photographer: Renato Langfeldt

Forming ideas
The reason I ask Rasmussen about Nordic identity is because this year ‘Nordic identity in craft’ will be the theme of a conference called ‘Craft and Identity: New Nordic Developments’. Held in conjunction with COLLECT, the conference is organized by the British curatorial group Forming Ideas and the network of Nordic Craft Associations. Behind the event is the English Crafts Council.

Last summer 14 curators from Forming Ideas visited the Nordic countries and claimed to see a new development in crafts – one worthy of greater attention.

Even though Rasmussen is reluctant to define herself as a Nordic or Norwegian artist, she admits that there might be some influence from Norway:

‘I’m strongly rooted in history, particularly the history of folk art, and in this respect a lot of the things I observe and draw inspiration from are Norwegian. But if you think about “Scandinavian Design”, which aims at simplicity and visible production processes, I don’t feel I’m a good representative for that tradition. For that I’m too baroque.’

The work Rasmussen is showing at COLLECT is a reconstruction of a design made by James Leman’s younger colleague, Anna Maria Garthwaite, and consists of hundreds of differently colored pieces of felt. Stitched by hand, the work is made in a technique Rasmussen herself has developed and describes as ‘inlaid textile’.

Rasmussen points out that the working conditions for craft artists in Norway are unique. There is a political will to financially support art, and there is a robust milieu as well, especially for textile artists. The opportunity to work freely as an artist has influenced her artistic development, but she does not believe her works show this influence. This is because she is interested in patterns from different cultures. Her patterns have in fact been compared to Asian designs:

‘A Japanese journalist who visited Norway felt that my works had a lot to do with Japan and Japanese traditions. And indeed, the background for the ‘bizarre’ style is that motifs and styles came from Asia and were woven into European design. So in a way she’s right, because Asia inspired the Western pattern traditions that I’m a part of. These Asian patterns also influenced Norwegian rose painting. So what really is Norwegian?’ Millie Behrens: Armpieces

Delicate, expressive and high quality
Kunst1, the gallery of Henning Mortensen, will exhibit works by ten Norwegian craft artists at COLLECT. As Mortensen and his wife, jewellery artist Millie Behrens, prepare for the international fair for the second year running, they show me pictures of the works they will present in London this year. They admit that they have been looking through catalogues prior to my visit, to see if a Nordic or Norwegian identity stands out.

‘A Nordic identity does not exist’, is Mortensen’s conclusion. Nevertheless, he thinks the concept of ‘identity’ might be relevant after all:

‘There is little that is typically Norwegian when you look at works by young craft artists, because they are open to impressions in a different way. I think young artists always draw inspiration and influence from the international art, but gradually they develop a personal identity that might reveal an ethnic heritage. This heritage might be called ‘Nordic’, especially if seen from afar, he says philosophically.

Behrens picks up a photo of an artwork she and Mortensen will show at COLLECT:

‘I think this is typically Norwegian, and the reason is the strong focus on objects anchored in form, craftsmanship and use of ornament.’

As Mortensen analyses the similarities in the artworks they are taking to London, he suggests a possible common denominator of expressive appearance:

‘You can see a clear, individual character in all these objects: they include few visual elements and are often rooted in nature. They are both sensitive and delicate, but at the same time they are forceful and expressive. Besides, the objects display craftsmanship of superior quality.’ Anna Talbot: Deep Dark Forrest

Borderline craft
Karianne Sand, CEO of Gallery Format in Oslo, agrees that Norwegian crafts generally have high quality. The gallery has participated in the fair in London for three years and has noted a lot of interest in Norwegian crafts. This year Sand will present works by seven artists, including the patterned intarsia textile by Inger Johanne Rasmussen.

‘I think crafts from Norway enjoy a lot of respect internationally’, she explains.

‘The first year I attended COLLECT for research purposes, and gallery owners and curators were surprised that no Norwegians were exhibiting, because they thought Norwegian crafts were so solid.’

Sand reflects on the differences between the Gallery Format booth and the others, and concludes that Format’s artists are slightly more experimental, ‘fruitful and juicy’.

‘It’s hard to say exactly what a Nordic identity could consist of, but I see a tendency amongst contemporary craft artists to work at the nexus of fine art; contemporary artists use conceptual strategies in their works.’

Like Rasmussen, Sand draws a connection between the experimental approach and the political system that enables artists to apply for stipends. She thinks that the working conditions and the infrastructure distinguish Norwegian craft artists from many others who show their works at COLLECT.

‘The economic freedom provided by the government allows Norwegian craft artists to immerse themselves in their work in a different way than if they had to hold down full time “regular” jobs and only had a few hours in the evening to be creative after the kids have gone to sleep’, Sand explains. Liv Blåvarp: Her name was Milliscent Rogers

Rich tradition
‘The Nordic craft scene is richer and more viable than that of many other European countries, says Widar Halén, Director of The Museum of Decorative Arts and Design at The National Museum of Art, Architecture and Design in Oslo. At the conference in London he will discuss ‘The ways in which the work of contemporary craft artists relate to traditional Norwegian craft methods, shapes and expressions’.

‘In Norway we have several craft artists who develop old techniques and incorporate them in modern expressions’, Halén explains.

‘They take recourse in techniques, forms and concepts from traditional craft. And it is a strength in Norwegian crafts that we have a long tradition to draw upon, one that can be reused in postmodern times.’

Several Norwegian crafts artists, he finds, appropriate elements from local traditions and end up with good results.

‘Examples of this tendency are Irene Nordli, who works with porcelain sculptures in a new way, Gunhild Tjåland, who is inspired by the silver jewellery of national folk costumes, and Liv Blåvarp, who employs methods of woodcarving, which has a long history in Norway.’

Whenever Halén meets with colleagues abroad, they envy the high status the crafts enjoy in Norway:

‘About 15 years ago the director for the Museum of Decorative Arts in Vienna said that the Austrian crafts were dead and that there was no reason to make an exhibition about them. This can be debated, but unfortunately it is the case that the crafts have low status in several European countries.’

Halén emphasizes that the present situation in Norway is a direct consequence of the fact that the government and the museums care so much about crafts. With good financial arrangements for artists and with three important museums exhibiting and collecting craft objects, the Norwegian crafts can flourish.

Norwegian tendencies
The editor of the Norwegian magazine for craft and design (Kunsthåndverk), Christer Dynna, also emphasizes the infrastructure of the Nordic countries.

‘When the infrastructure is based on public funding, it offers a safety net you don’t find elsewhere. It also provides a different dynamic within the field than if you are reliant on private collectors and galleries.’

But when asked about Nordic identity, Dynna considers the differences between the Nordic countries to be more obvious than the similarities. And he believes it has to do with history.

‘The Swedes have a long history of industry; they have lots of experience with mass production and mass distribution. And the Danes still have their art industry, which is a totally different context within which to create crafts. I believe craft artists and designers in Norway have more mental freedom than our neighbours, because we don’t have the same history.’

If any comparison can be made, Dynna thinks Finnish crafts come closest to what we find in Norway:

‘The experimentation in Finland is similar to what has happened in Norway’, he explains. But he thinks it is hard to identify any typical characteristics of Norwegian crafts. He tries to point out some tendencies:

‘Some craft artists could be said to be twisting traditions, they work within an expanded field of craft that is quite expressive, and strongly rooted in materials. These artists are solid, well established and create interesting works that most often do not point to the contemporary world nor make use of any other direct references image wise. Then you have a younger generation whose project seems to be about rummaging every available reference in contemporary society, and whose object first and foremost is to interpret and tell a story about industrial products and also venture into other “unworthy” areas for the arts.’

Dynna mentions Anne Thomassen and John K. Raustein as belonging to this latter group of artists. The works of these artists seem at first a little ironic and distanced, but they also show some sincere curiosity and respect for the different motifs that they bring in from a wide range of the sub-divisions of object making – realms of commercial culture that otherwise never would be allowed into the museum collections..

‘And then you have some young artists – I’m not sure if I could call it a tendency – but they explore old and new techniques; they aim at being good craftsmen and try to develop an original aesthetic expression. It might be easier to define it as design, but they create unique products.’

These tendencies of blending ‘low brow’ with ‘high brow’ reverberate well within the crafts’ own identity in the Nordic sphere, since the old, institutionalized boundary between craft and fine art is an intrinsic part of labelling your work ‘craft’. But with respect to identity, he asserts, the tendency to blur genres may as well be defined as a tendency within fine art as within craft.

Liv Blåvarp: Her name was Milliscent Rogers

Inger Johanne Rasmussen stitches Hagen bortenfor (Garden within Reach), 2008, 225×305 cm
Photographer: Espen Tollefsen

Millie Behrens: Armpieces

Inger Johanne Rasmussen: Avskårne blomster (Cut flowers), 2006, 242×363 cm

Anna Talbot: Deep Dark Forrest

Inger Johanne Rasmussen: Tumbeling blocks, detail, 2006

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