No doubt the miniskirts helped as much as the letters of introduction that launched Helena Hernmarck's career more than 40 years ago.
Trained as a weaver, she set sail from her native Sweden on a freighter in 1964 and settled in Montreal. Her first big job came from the National Film Board of Canada, which gave her $20,000 to produce a tapestry for a pavilion at the 1967 Montreal Expo. Since the theme was "labyrinth," she hopped a plane to Crete to check out the labyrinth at Knossos, then whipped up a 23-foot-long snake-motif tapestry that fit the bill.
She was just 26 and had big dreams.
"I just wanted to conquer America," said Hernmarck, 71, laughing over coffee in the airy new cafe at the American Swedish Institute in Minneapolis, where a career-spanning survey of her tapestries is on view through Oct. 14.
With 18 of her weavings hanging in the institute's new addition and the salons and ballroom of its original mansion, the show offers an impressive overview of Hernmarck's long career. Called "In Our Nature," it features evocations of the natural world -- water tumbling through a rocky gorge in Sweden, a steamy rain forest in Washington state, 6-foot-tall golden poppies and Texas bluebonnets.
She is legendary for her ability to create trompe l'oeil illusions in wool, especially letters, postcards or money that seem to float in three dimensions thanks to subtle manipulation of shadows and light. Based on photos, the tapestries have a Pop look, gigantic in scale and startlingly realistic. Her unconventional subjects have ranged from the interior of a steel mill to computer chips, portraits (Mao, Nixon, Little Richard) and architect Daniel Burnham's famous 1909 plan for the city of Chicago.
Big-league commissions
To suggest Hernmarck "conquered" America might overstate the case, but her client list does read like a Fortune 500 roster: Weyerhaeuser, Bank of America, John Hancock, Bethlehem Steel, even the Federal Reserve Bank of Boston. Her institutional collectors are equally choice, from Sweden's Ringhals nuclear plant to New York's Museum of Modern Art, from the national galleries of Sweden and Australia to museums in Los Angeles, Chicago, Washington, D.C., and Quebec.