Jóhanna Pálmadóttir has been working on a 46 meter-long tapestry since 2011. It’ll take 5-6 more years to finish the last 12 meters. To be sure she has had plenty of help. But the scope of this incredible project is rather mind-boggling and I didn’t really believe it could exist until I saw it in person.
The tapestry is based on one of the Icelandic sagas, the Saga of the People of Vatnsdalur. This saga took place in the area of Iceland where the tapestry is being stitched. It is the location of Jóhanna’s farm, the church she grew up in, and the monastery where the tapestry will live once it is finished.
The project is being stitched in the former women’s school in Blönduós, Iceland, Kvennaskólinn. This is also the site of the Icelandic Textile Center. Over the years, Jóhanna and her team of local embroiderers have taught many artist residents at the textile center, local residents, and tourists how to stitch.
The story
“Vatnsdaela saga is the family history of the people of Hof and takes place from 9-11 century. The story tells of fate, love and honor, but also of perserverance and valiance against enemies. The main settings stretches from Norway to Vatsndalur in Iceland and surrounding district.”
The saga was written in 1270 AD. Icelanders revere their sagas, but this one is not as well known as some of the others. I have been unable to find a translation of it into English.
The Vatnsdaela Tapestry, detail
A tapestry that isn’t a tapestry
Of course this is not tapestry in the true sense of the word. In Europe especially, stitched images on fabric are often called tapestries.
The idea for the project came from the Bayeux tapestry, a 70 meter long embroidery stitched in the 11th century. (Take a look at the whole tapestry with this amazing interactive online display from the Bayeux Museum.)
Local community members in Blönduós have spent untold hours stitching this embroidery. Here are two of the most dedicated stitchers working.
The design of the Vatnsdæla saga tapestry
The tapestry was designed by students from the Iceland University of the Arts in 2011 under the direction of Kristin Ragna Gunnarsdottir. The design style of various sections of the story definitely differs. This is because sections were designed by different teams of students. The effect is really interesting when you consider the narrative takes place over several centuries.
The pattern for the stitching is made by drawing it on a clear film and then poking holes in the film. Blue paint of some sort is poured over the film and it makes the dots on the fabric that are used to stitch. The paint is later washed out. In the image, the blue rolls are parts of that film that transfers the cartoon to the fabric. The white rolls are part of the cartoon.
It was interesting to look at the cartoon hanging on the wall and then at the embroidery to see the figures come to life.
Cartoon hanging on the wall where the stitchers could see it.
Finished stitching of this section of the cartoon.
We were able to see a few other sections of cartoon besides the one hanging on the wall. The cartoon below was earlier in the tapestry.
This panel is an early one in the tapestry before the characters come to Iceland. Notice how different the characters are in style than the panel currently being stitched.
Materials
The yarn for the tapestry was spun by Istex, the Icelandic wool production company. There are 9 colors of wool in the work in two different weights. The thinner 1-ply yarn is used for the outlines and to lock the stitches down. The heavier 2-ply yarn is used to fill in the figures.
The tapestry is being stitched on one continuous piece of fabric which is rolled on a long frame. We were able to see a different part of the project by rolling the tapestry back like a scroll.
In the photo below you can see how the embroidery is rolled on on two big beams held together by a large frame with a light and shelf on it. Many people can sit side by side and work on the tapestry at once. Here, Jóhanna Pálmadóttir is showing the tapestry to a visitor.
Jóhanna Pálmadóttir showing the Vatnsdaela tapestry to a visitor. Blonduos, Iceland.
Stitching
The stitch they’re using to make the images is a form of couching and looks similar to the stitching used on the Bayeaux Tapestry to my untrained eye.
I really enjoyed seeing how they used just 9 colors to great effect. There are many instances where the design includes leaving negative space unstitched to create the form.
The figure on the right’s hand is one example of using negative space to indicate a shape instead of filling that area in with another color.
The stitch itself is quite beautiful. I stood and watched several different people stitch for awhile. They outline the form first with a thinner yarn and then use a thicker yarn to fill in the central area. After that, couching stitches are used to hold down the long floats. That creates the characteristic gridded lines we see in the details.
Steina working on filling in a very long form. Steina does more stitching than perhaps anyone and is certainly an expert.
There are endless characters, stories, and story-telling tricks in this work of art. I will go back and visit it once it is finished and installed because I can only imagine it will provide hours of entertainment and enjoyment.
In this image you can see a little closer how there are long stitches created first to fill in an area and then they are stitched down.
This section of the tapestry completed. You can also see more of the cartoon yet to be sewn here.
The gallery below has more photos of the tapestry.
You can find out more about the project on the website here: https://www.textilmidstod.is/en/about-us/kvennaskolinn/vatnsdaela-a-refli
With undying gratitude to Jóhanna Pálmadóttir for sharing this wonderful project as well as all the things you taught me about spinning Icelandic fleece, Icelandic sheep, farm life, and Iceland in general. “May it never be boring!”
Myself, Jóhanna Pálmadóttir, Emily. photo: Cornelia Theimer Gardella