Henner, Therese

Henner, Therese

Therese works part-time with her own company Sirli Textil och part-time at Klässbols linneväveri (linen weaving). In her company she primarily works with different weaving techniques. She's also plant dyes and eco-print. She makes primarily everyday textile artefacts. She holds lectures, courses and exhibitions within her field. Her studio is at Gammelvala (open air folk museum) in Brunskog. Therese works with traditional weaving techniques such as tapestry and pick-up techniques such as rölakan, rya, HV-technique/woven transparency and pulled warp. Shuttled weaving techniques and traditional patterns that are of frequent use in her woven expression in rosepath, monk’s belt, dukagång and overshot weave. She has a genuine interest of sustainable practices, cultural heritage and questions regarding nature.

people

1986

iain

Swedish

Artisan

404

x x

current,59.6574488,12.890542;

Scotland

Henner, Therese

https://arvikakonsthantverk.se/medlemmar/therese-henner.html

TEXT

Therese works part-time with her own company Sirli Textil och part-time at Klässbols linneväveri (linen weaving). In her company she primarily works with different weaving techniques. She's also plant dyes and eco-print. She makes primarily everyday textile artefacts. She holds lectures, courses and exhibitions within her field. Her studio is at Gammelvala (open air folk museum) in Brunskog. Therese works with traditional weaving techniques such as tapestry and pick-up techniques such as rölakan, rya, HV-technique/woven transparency and pulled warp. Shuttled weaving techniques and traditional patterns that are of frequent use in her woven expression in rosepath, monk’s belt, dukagång and overshot weave. She has a genuine interest of sustainable practices, cultural heritage and questions regarding nature.

RV_PR_03

702

therese.henner@gmail.com

facebook,https://www.facebook.com/sirlitextil;instagram,https://www.instagram.com/sirli_textil;

46724032138

fibre and textile crafts

See above

Lectures, courses, workshops focus on heddle loom, and mending fabric. Course in eco-printing on vocational schools (folk high school). Have also been guest lecturer at University of South-Eastern Norway (campus Notodden’s textile education). She’s taught at the study association in Karlstad and held workshops at Rackstadmuseet and the municipality of Arvika. She sees there’s a growing interest for weaving in all ages, primarily in women.

Ulrika Jäger, Sara Olsson

female

native

Henner’s paternal grandmother taught her to crochet when Henner was a child, and her mother taught her to sew when Henner was around 10-11 years old. She’s studied two year of textile and two years of textile and arts education at University of South-Eastern Norway and holds a bachelors of Arts and crafts (textile). Then she received a scholarship for further studies of weaving 2019-2020 at Ritwa Lingrot (traditional weaving) and Gunilla Brander-Smedberg (tapestry and plant dying).

Henner chooses primarily natural materials such as linen and wool, both with rich traditional use in Sweden. She also to some extent uses cotton and hemp. Natural fibers are important for her and sees no alternatives.

part-time paid job

Henner buys her wool yarn from Swedish manufacturer: Garnhuset Kinna textil as well as wool "pälsullgarn" from Rauma (Norway). Henner buys her linen yarn from Holma (the fibers are grown in Eastern Europe and France). For eco-print fabric she imports thin wool shawls from England.

Henner has gotten linen yarn from the 1930-40’s and other yarns from estates in the local area where she lives. She also buys second hand. Since short yarns can be used for decorations in weaves, she collects and uses what she cans or arranges so that others can use leftover yarn.

Weaving, crocheting, sewing

All tools necessary for hand weaving on a counterbalance (floor) loom, band loom or a heddle loom. Weft, warp, scissors, equipment for dying, different needles...

Henner has her mother's tailor's scissor, which was a present and she still uses. The floor loom "Öxabäck" she uses, which Henner describes as the "rolls royce" of looms, is so tall that she can either stand or sit while weaving which fits her height of 1.7m. Henner also has a loom after her maternal grandmother in the farm house of her family home, but the wood has warped and is no longer useable. There was also a small ridgid heddle loom found in the insulation of her family home's attic, which was mended with linen thread and is used by Henner now.

The studio is heated with electricity. Her home is heated with a wood burning stove and electricity.

There's no waste.

Currently involved in a course at vocational school in Stöllet, Värmland. Next time she’s teaching there is summer of 2025.

Primarily hand woven cushions, lamp shades, jewelry, band and shawls.

She makes applied arts which are for use, beauty and joy in the homes of people.

They are sold at Konsthantverkarna i Arvika, Rackstadmuseet (Arvika) and at her studio outside of Arvika.

She provides repairation services.

Yes. Henner believes that it's important that an older object can have an extended life if it's mendable.

Mainly women between 50 - 70 years old.

Her studio is situated at (above all at summertime) well-visited open-air museum in Värmland. The association which runs the place also arranges events such as markets throughout the year, which are popular. Each summer the the week-long event “Gammelvala” is arranged (in dialect translated to old world), during which all the area is filled with activities connected to cultural heritage. Tourists visiting can see Henner’s studio during this week too, but Henner has no activities of her own connected to tourists.

Jag ställer inte ut på marknader förutom här på hembygdsgårn eller som dom marknader som vi har här och evenemangen som Gammelvala och så och då har jag ju öppen atelje med försäljning härifrån så och inget stånd nere på området och det är ju både positivt och negativt. För naturligtvis hade ju fler folk sett mig om jag hade haft en plats som var mer öppen och tillgänglig, samtidigt så är det kan det vara svårt fortfarande med konsthantverk på det sättet jämte utbudet på såna marknader och det är prismässigt naturligtvis för det blir en ganska stor skillnad. En tanke med det att jag inte vill stå därnere är ju att jag vill visa och sälja mitt hantverk liksom nära där jag också producerar eller skapar det för det ger ett mervärde till kunden och en förhoppningsvis en förståelse för tiden som är lagt på produkten. När man ser ateljen och verktygen och så.

Member of Arvika konsthantverk (Arvika’s Arts and Crafts) which is an economic association with a store in central Arvika with an exhibition space. It’s a well-established association which has been around for about 120 years. She’s also a member of The Artists' Association of Sweden. As of 2025, she's a member of the project Co-craft Collection Experiment about natural dyes. (more: https://www.instagram.com/cocraftcollection/)

Member of Arvika konsthantverk (Arvika’s Arts and Crafts) which is an economic association with a store in central Arvika with an exhibition space. It’s a well-established association which has been around for about 120 years. She’s also a member of The Artists' Association of Sweden. As of 2025, she's a member of the project Co-craft Collection Experiment about natural dyes. (more: https://www.instagram.com/cocraftcollection/)

Time is an important factor, and to take time for development. There’s a pressure of production. Social media takes a lot of effort to be active enough. It’s important to stand out “in the crowd”, digitally even though it’s easier these days living rurally.

"Det tar nån timme att fundera ut vad man ska skriva i dom där inläggen. Det är inte bara att lägga upp vad som helst." It takes about an hour to figure out what to write in these posts. It’s not just about posting anything.

Konsten att väva. En praktisk handbok. Av Åsa Pärson och Amica Sundström. ISBN: 9978-91-7887-085-1 Handbok i vävning. Bindningslära med konstvävnader. Av Ulla Cyrus- Zetterström. ISBN: 91-36-00445-6 A handweavers patterns book, by Marguerite Proter Davison ISBN: 9781626548428 Tapestry with pulled warp. Inspiration, Technique and the Creative Process. Av Susan Iversen. ISBN: 987-0-7643-5933