Tree of Life - Diary of a Tapestry

2008-07-30T18:25:00.003+10:00

This will be the last post on this blog. The three new tapestries for the three campuses of RMIT are now finished and the cutting off ceremony was held last Tuesday. Also I am no longer a student there - have gone on to bigger (and hopefully better) things at Uni NSW. The following are a few pics from the ceremony. The first pic shows the three tapestries side by side on the loom. The second is the designer, Cresside Collette with the course coordinator, Pat Jones. Then, most of the weavers who worked on the tapestry, The Vice-Chancellor of RMIT, Professor Margaret Gardner starting the cutting off and a small helper.

Each of the tapestries will hang at its respective campus although they were also designed so that they could hang together as a 'suite'. Hope you've enjoyed watching the tapestries grow.

2008-03-05T17:03:00.003+11:00

Can you believe it? Its March already-and no posts since November! We all had a break over Christmas and the New Year but the weavers have been back in action since the middle of January and are powering along! The 2 pics here of Sue and Julie were taken a couple of weeks ago but I just haven't had the time to get them up. I've been enrolling in a master's degree course with University of New South Wales and because its all on line and my computer skills are only average- its been a bit of an effort. The three new tapestries are now about halfway finished and looking very good.

Another bit of news is that an article I wrote on the Tree of Life tapestry has been published in Textile Fibre Forum. - Issue 1, No. 89, 2008, pp 28 and 29. (If you get to look at it you will finally get to know my real name too)

Since I wont be studying at RMIT any more this year, the posts here might become even more sporadic than they have been for the last couple of months but I will be looking in on them every now and again just to see how things are going .

2007-11-13T15:47:00.000+11:00

The top two photos were taken on the 22nd October and you can see that the little figures alog the bottom have taken shape. On the close-up you can just see how the lines are marked out on the warps before weaving.

This was a lovely morning tea we had on the 30th to welcome Cresside back from her trip the America (that's her in the red and white stripes)

Poor old Julie - in the foreground also in red and white- is temporarily in a wheelchair after falling off a roof and breaking both ankles. However she is now getting around and can still weave from the chair.

The last picture shows where we are at today

2007-11-13T15:27:00.002+11:00

OOPS! I must be out of practice! Sorry about that and for not posting for a while. Hoowever I have been taking photos and so this post will be to show you what has been happening since September.The top left picture shows Sue working on the spacing of the warps. This photo was taken on the 17th September. The other three were taken on the 15th October and show howit has progressed. The one of the board shows the completed designs for the three tapestries and are made up of a collage of photographs of the three campuses of RMIT - City campus, Brunswick and Bundoora. I'm having a bit of trouble getting the pictures to stay put in the right order so I think I'll close this post and put the next lot in another.

2007-11-13T15:27:00.001+11:00

2007-09-09T14:05:00.000+10:00

The new loom has been assembled (its BIG) and the designs for the three new tapestries have been reproduced to size for the cartoons. And now the warping up has started as you can see from the pics. The three tapestries - one for each of the three campuses of RMIT - will be woven at the one time. They just fit across the loom. The other tapestry you can see in the background is the Harmony Tapestry woven for the city of Greater Dandenong by some of the weavers who were associated with the Tree of Life tapestry and who will also be workingg on the new ones. As you can see it shows a number of different textile fragments form different cultures and these represent the different nationalities and cultures found in the City.

2007-08-09T10:01:00.000+10:00

Well, its been a while since I last posted but at last the tapestry is hanging in its new home at the RMIT Spiritual Centre and it looks REALLY GREAT. Here's a few pics of the hanging process which took most of the day! It gives you an idea, too, of just how big the tapestry really is when you compare it to the figures of the people working on it.

The top one is of Sue sewing on the label at the back which records the names of all the people who worked on the tapestry over the months that it took to complete.

The next one shows it being unrolled after attaching at the top and then one of it compleately unrolled with Sue and Cresside (weaving supervisor and designer) standing in front.

2007-02-15T13:26:00.000+11:00

Its done! The tapestry is now off the loom and being readied for hanging. The Vice Chancellor of RMIT, Margaret Gardner, performed the 'cutting off' ceremony yesterday in front of a small crowd of weavers, staff and students at the Brunswick campus where the weaving has taken place. And it looks fantastic! One of the problems with tapestry weaving is that you only ever see about a metre of the tapestry while it is being woven, so there is always that little bit of trepidation before you see the completed work. Will the edges be straight? Will the colours be consistent through the whole tapestry? Will the commissioner like the finished product? etc etc. However, as you can see from the pics it all went well and everyone is happy with it.

The Vice Chancellor starts the cutting off

The tapestry comes off the loom

A happy bunch of weavers and volunteers

Once off the loom, all the levelling threads are removed

And the plaiting off of the warp threads begins. After this it will be readied for hanging and I will let you know when that is about to take place

2007-02-13T14:32:00.000+11:00

And now some pics of yesterday's work -

Nearly ready for hitching off

All hands on deck to finish the last little bit - everyone is standing because the working area has reached the height limit (some are even standing on telephone directories)

Jen is showing a new volunteer the ropes

Starting to hitch off

And the completed line of hitching

2007-02-13T14:21:00.000+11:00

Rolling on, retying the warps, and starting to weave on the last stretch.

2007-02-13T12:12:00.000+11:00

Well, its been some time since I last posted and I apologise for that. And what an eventful couple of weeks it has been! When I last posted we were getting ready to do the last rolling on of the tapestry. This was quite important as the warps had to be lengthened at the same time due to the fact that a further few centimetres had to be woven to provide a turnover hem. This was because the tapestry is now going to be hung on a wall instead of the original idea of it being a floor tapestry. Not ony has this been done now, but the final "hitching off" was also completed yesterday. Tomorrow, the Vice Chancellor of RMIT will perform the "cutting off" ceremony, where the completed tapestry is removed from the loom (more pics tomorrow).
We have also had news that a further three tapestries are to be commissioned by RMIT - one for each of the campuses - so it appears that the tapestry apprentice will be in business for a while yet. The following are a series of pics taken over the last cople of weeks. Enjoy! Actually there may not be any pics in this post as Blogger has just changed th format and I cant figure out how to get the pictures in so I'll post this and then try and get some help.

2007-01-25T09:30:00.000+11:00

These are pictures of two more of the weavers on the tapestry. Hwa, in the top photo, did the RMIT Textiles course in 96/97 and has been doing her own tapestry work since then. She also did a year at the Monash Fine Arts course in tapestry where she met Cresside the designer of this tapestry.

Rosemary worked with Sue on a tapestry for the Flemington Primary School in 2001. She is mainly a knitter and embroiderer, and, as you can see from the photo, a very accomplished quilter.

2007-01-15T18:06:00.000+11:00

Back again after a very pleasant Christmas break to find that thngs have really been moving on the tapestry. Weaving is now into the top orange section and it looks as though it could be finished in about about another month or so.

This is Jen, another of the professional weavers working on the tapestry. She has been weaving tapestries for over 20 years since doing the Studio Textile course at Warrnambool College in 1982-3 where she majored in tapestry and Machine Knitting. She says she has been interested in textiles for as long as she can remember having been taught to knit and embroider by her mother who used to do petitpoint embroidery.

Dominique is one of the volunteers working on the tapestry. She is currently in her 2nd year of the Diploma of Studio Textiles course and is doing Tapestry as her Major.

And now a couple of pictures to show how things are progressing

2006-12-16T18:26:00.000+11:00

Well its that time of year again and even tapestry weavers get to have a break over Christmas. As you can see we are about three quarters of the way there and into the canopy of the tree. Some of the colour combinations in this last area have come up really well - such as the pale apricot/grey-blue/white and there will be some more interesting combinations in the next section. Last Tuesday we all (or most of us) had a celebration lunch which may have been one of the few occasions when so many of the weavers and volunteers had been together in one place at one time - and very pleasant it was too as you can see from the pictures.
Oh and a piece of news - insted of being on the floor in the RMIT Spiritual Centre, the tapestry will now be taking pride of place on the wall. (From my point of view as an ex textile conservator this is a much better option and much safer for the tapestry)
Have a great Festive season everyone and we'll be back early in the New Year with further instalments.

2006-11-30T14:17:00.000+11:00

Back in 1991 I was lucky enough to see an exhibition called 'The Sacred Art of Tibet' which included a number of the thankas, or banners. One of these had been made in silk in the tapestry technique and it was absolutely stunning - and so fine that you had to get up really close to see that it actually was tapestry. The thanka came from Kara Khota in Central Asia and is now in the Hermitage Museum in Russia. Silk was used extensively in tapestry weaving in China where it is known as 'kesi' and has a very long history. The tapestry in the exhibition has been dated to 'before 1227', and it is thought that the technique of tapestry weaving in wool arrived in China with the great eastward migrations of the Uighur people of Turkic origin from Iran and Sogdiana. With the development of silk weaving the technique was transferred to that medium. The earliest recorded descriptions of kesi is in the 'Songmo Jiwen' (Records of the Pine Forest) by Hong Hao who lived from1088 to1155. However as you can see from the other piece shown,the technique appears to have an even earlier history. This piece is a fragment dated to the eighth century and is part of the collection in the Shoso-in in Japan although it comes originally from China. As well as actual fabrics, the technique of tapestry weaving in silk also came to Japan where it is known as 'tzuzure-ori'. Where we use bobbins to pack down the wefts, for some of the finer work in Japanese workshops the weaver combs down the weft using his own notched fingernails.

2006-11-20T14:25:00.000+11:00

Sorry its been a while since I last posted - end of semester and all sorts of things had to be finished. This is where the tapestry is now - well over half way and lots of interesting colour combinations in the pastel shades being used. Should be able to put some more pics up in the next couple of days.

2006-10-27T16:30:00.000+10:00

I dont know what happened with that last post. One minute this picture was there and the next it had disappeared. Any way, this is a tapestry from a burial site in northern Peru. The array of textiles of many kinds that have survived is due mainly to the dry environment in which they were buried. Thomson, in his book 'Tapestry - Mirror of History' writes that some of the tapestries found have been woven so finely that there is "a weft density exceeding 60 weft threads per centimetre (150 w/in)"

The pictures in the previous post came from the books "The Mummies of Urumchi" by Elizabeth Wayland Barber and "Coptic Egypt - The Christians of the Nile" by Christian Cannuyer

2006-10-27T15:57:00.000+10:00

Tapestry weaving,or the weft faced weaving of discrete areas of colour to form patterns and picturs has an extremely long history and appears to have been developed in many different cultures and places. The orange and yellow one shows a band of tapestry weaving on the sleeve of the clothing of a mummy from north west China and is dated to the 1st millenium BC.As well as being old, it is interesting in that the weave is not the normal 'over one, under one' weave but a more complex 'over three, under two'.

The roundel containing the face of a woman is from Egypt and the early Christian Coptic culture. By tradition, the Coptic church was founded by St Mark in Alexandria somewhere between AD 43 and 48. and by the 3nd of the third century had spread into the Egyptian population along the Nile

The third picture is of a Peruvian tapestry of the Chimu culture dating to about the 6th century AD

2006-10-24T10:54:00.000+10:00

Just a quick post to let you see how the tapestry is progressing - well nto the light blue/white part and so just about half way there. More later.

2006-10-10T09:15:00.000+10:00

When I was rearranging my bookshelves the othe day I found I had book called "The Tree of Life" by Roger Cook which had some marvellous images of the tree of life from many cultures both ancient and more recent. It is interesting to speculate about how the use of tree symbolism spread around the world or whether it arose more or less spontaneously because trees are all around us and are so useful. It is also nteresting to see how the trees depicted relate to the particular culture involved.

The above is a bronze representation of the "Tree of Life and Knowledge" from India made in the 14th or 15th century.

The Tree of Life as a sycamore tree from an Egyptian tomb of the 16th century BC.

On the lower portion of the shaman's coat from Siberia the tree represents the shaman's descent to the underworld. On the back is another tree representing the ascent to the sky world.

The beautiful interlaced curves in this picture show the Scandinavian "World Tree" or Yggdrasil associated with the god Odin,

The Navaho sand painting shows the giant corn plant which embodies much of the same symbolism as the Tree of life.

I'll put a few more of the images up later.

2006-10-07T21:04:00.000+10:00

Found this description of tapestry in a book I was reading and thought you might be interested:-
'Like any other woven tissue, tapestry is composed of a warp and a weft. The warp, which is nothing but a skeleton structure, disappears completely beneath the body of the fabric.All that can be seen in a finished tapestry is the weft, made up of the different coloured threads forming the decorative scheme. However the weft threads are not taken systematically across the width of the warp (as in other tissues), but only across that part of the warp corresponding to the coloured areas isolated in that section of the cartoon being woven. In other words, tapestries are woven in "patches" and several rows of the same colour are woven consecutively. By virtue of its purely manual technique and basic independence of any purely mechanical aid, tapestry fulfils all the conditions required for the production of an original work of art. It is born of the collaboration between the artist who creates the cartoon and the weaver who translates the cartoon into textile matter - not with the cold precision of a machine, but with his own personal understanding and his skill at bringing into play all the resources of his craft. This is one of the essential differences between true tapestry and the numerous other decorative fabrics produced on more or less mechanical looms which can work fast and produce less exact repetitions of the same motif."
Pierre Verlet - quoted in the book "Tapestry Weaving" by Nancy Harvey.
It seems to sum it up prretty well.

2006-10-05T09:44:00.000+10:00

Sorry about that - I had a few problems putting the pictures in. We'll try again.

Libby Austin and Cresside with Faye Dumont, the Choir master.

In this picture Faye is leading the choir with the tapestry in the background

And below are a couple of the beautiful leaves in the blue section. If you look carefully you can see the little frog woven by Julie on the waterlily leaf

2006-10-05T09:10:00.000+10:00

Well, mid-semester break is over and work is continuing apace on the tapestry. We are well into the blue, or 'water' section now and some of the leaves are looking really spectacular. Yesterday a celebration of the work and the people involved was held. The RMIT choir sang and there were readings from several spiritual traditions. These included the reading from Revelations which you can see at the beginning of this diary, one from Khalil Gibran's "The Prophet", from Lao Tsu's Tao te Ching and from the writing of Paul Klee on Modern Art, and from Psalm 131. All of the readings were connected in some way to weaving or the subject of the tapestry. Here are a few pictures of the celebration.

Cresside Collette, the designer, and Libby Austin from the RMIT Spiritual Centre.

2006-09-21T09:24:00.000+10:00

The college is on mid-semester break for two weeks at the moment so not much is happening with the tapestry. So...to fill in time I thought I'd put up some pictures I've found of different versions of the Tree of Life in textiles.Most of them come from a book called World Textiles by John Gillow.
The first one is a silk brocade weaving from the island of Lombok in Indonesia. The second is an applique from Saurasthra in north west India.

The ox cart tent in this one is from Rajasthan

and this is an English embroidery sampler dated 1818.

2006-09-20T14:00:00.000+10:00

Once weaving has reached a certain height it becomes hard to manage, so the whole tapestry is rolled on to bring the weaving point to a comfortable height again. Rolling on involves loosening both the top and bottom rollers (beams), rolling some of the completed part of the tapestry onto the bottom beam and unrolling some of the warp from the top beam, making sure that the tapestry remains level and straight the whole time. Excess weft is trimmed from the back, the cartoon is repositioned and the tension reapplied to the warp. The job needs several pairs of willing hands as can be seen from the photos.

2006-09-13T11:04:00.000+10:00

This is the little tapestry loom where samples are done. Its also to try and find out why the pictures I put in are not coming up on the blog. Hope it works this time

2006-09-13T09:30:00.000+10:00

2006-09-12T15:06:00.000+10:00

This is the bright orange 'mistake'. The slightly browner skein to the right was a mix of Orange RN and Brown - also at ten times the proper concentration.

The left hand photo shows the weaving progressing into the blue area.

2006-09-12T14:26:00.000+10:00

These are two of the colours we have had to dye. For the technically minded, the pale blue is Lanaset Blue 2R at 0.05% WOG. The peach is Lanaset Orange RN at 0.05% WOG.

To do the dyeing, 10gm samples are first dyed in a range of shades that look as though they might be useful. The best match is chosen and then a skein of that mix is dyed. I.m getting better at this now. The first skein I dyed which should have been the peach in this phot, turned out to be bright almost fluorescent orange - yes I'd miscalculated the amount of dye stuff needed. Put the decimal point in the wrong place and made it ten times too strong.

This morning I spent bleaching two skeins of the natural wool to a brighter white. It looked OK coming out of the dyepot but we'll see in the morning when it comes out of the dryer. The yarn was bleached by boiling in a solution of 'hydros' - sodium hydrosulphite for 30 minutes.

2006-09-11T13:00:00.000+10:00

This is where the tapestry is at now. As you can see we are out of the earth and into the air. You can also see how the cartoon (the black and white part) sits behind the loom as a guide for the weavers

2006-09-11T12:47:00.000+10:00

This is Julie who didn't really want her photo taken this morning, so she sent me another one with her son, Taylah

The tapestry is coming along and weaving has moved into the blue around the trunk of the tree. The pale blues are a bit light on so last week I had to dye some and this week I will be bleaching some of the natural coloured yarn, which is a little on the creamy side, to get a brighter white. This can then be mixed with the pale blue to get an even paler blue, or used on its own as a highlight.

The dyes used in dyeing the yarn are Lanaset, mostly because I am more comfortable using this type but also because they are fast colours and easily reproduceable.

2006-09-10T00:07:00.000+10:00

Since the RMIT Spiritual Centre is inter-faith and non-denominational in nature, any art work has to reflect this. The design rationale for the tapestry was set out by Cresside as follows:-

"In the midst....was there the Tree of Life....and the leaves of the tree were for the healing of the nations"
Revelations 22:2

The tree is a symbol resonant in all religions, visually meaningful in the ancient Mediterranean civilizations and in the Buddhist, Moslem, Christian and Jewish cultures. Originally the way it was envisioned and described in sacred Jewish texts led to its development as a motif in other early religious art, and its depiction dates to the first century.

It was used to represent life, death and resurrection because of its organic qualities and the notion of a living cosmos in a state of perpetual regeneration. The verticality of the tree also stood for a relationship established between heaven and earth as it moved through the three levels of the cosmos - the underworld through its roots, the earth and atmosphere through the trunk and lower branches, and the heavens as its upper braanches reached towards the light.

The tree encompasses the four seasons in its development, reminiscient of the life cycle of man. It reflects physical growth and spiritual awareness, tenacity and maternal qualities in its capacity to sustain lie through giving nourishment, and protection by providing shade and shelter.

It also brings the elements - earth, water, air and fire that constitute the material universe - together in its manifestation. Water circulates in its sap, earth sustains its structure through holding its root system, air feeds its leaves and its branches can be used to create fire.

The symbol of the tree of life is universal, not just in its religious context but through its depiction in textile art throughout the centuries. Through Hebrew and Hindu mythology it proliferated through all the embroidered and woven forms throughout the East. Mediaeval French and Flemish tapestries developed "verdure" and "millefleur" pieces that later informed seventeenth century English hangings. American patchwork adapted the tree from oriental rugs aand it took the form of willow and pine.

This design, comprising a strong but slender tree set against the sustaining colours and textures of the elements seeks to encompass and represent the rich historical symbolism of the Tree of Life. To its skeleton hundreds of individual leaves will be added representing people of all faiths and all nationalities across RMIT. The tapestry will speak to the many layers of meaning, both religious and secular, of the Tree of Life and its making will unite the designers and weavers in the spirit of community."

Cresside Collette March 2006

(the picture above is from an Indian palampore , or bed covering, in the collection of the Powerhouse Museum, Sydney)

2006-09-09T18:06:00.000+10:00

Once the initial design concept was formulated, staff and students across all RMIT campuses were invited to submit individual leaf motifs which were then incorporated into the overall design.

This design was then enlarged photographically to the finished size of the tapestry - 5.5metres x 3metres. This enlargement, or 'cartoon' is held behind the loom to act as a guide for the weaving.

Some other bits and pieces about the tapestry:-

The tapestry is being woven on an upright rolling loom (tapestries can also be woven on horizontal looms and I will get a picture of one up later so you can see the difference). The warp is cotton seine twine at a spacing of 2 warps per centimetre. The actual weaving is done using two strands of 4 fold rug wool at a time and these can be mixed to increase the range of shades available. The yarn comes from the carpet manufacturer Brintons. Occasionally a colour is not available commercially. In this case it can be dyed to order in the dye chemistry lab.

2006-09-09T17:26:00.000+10:00

Julie Jones is the third professional weaver working on the tapestry. I don't have a pic of her yet but will post it as soon as I do. This is what she has to say about it:-

"Being in my first year as a professional weaver, I was excited to be involved with this project. The project has given me plenty of experience and opportunities to work side by side with other experienced weavers, learning the in's and out's of weaving a very large mural art form tapestry, as opposed to smaller tapestries.
When designing tapestries of my own, I use digital imagery to manipulate and create abstract designs. The pixilation of a finished design is beneficial as it can be translated to a tapestry with ease, keeping the designs invigorating and unique to my artistic style."

Julie graduated in Studio textiles in 2005, majoring in tapestry, and worked on an artist display at the Melbourne Museum during the William Morris exhibition in Decemer, 2005.

2006-09-08T23:04:00.000+10:00

This is how Miranda Legge sees her participation in the Tree of Life project and her life as an artist:-

"Weaving on largescale works like the Tree of Life for RMIT offers an artist a wonderful range of experiences such as workingwith the designer, the project manager and the RMIT community. As a skilled weaver I will be contributing ideas of how colour is mixed to form the tapestry palette, fresh approaches to the designer's imagery and a dynamic teaching style to the RMIT community. Being part of a team of weavers allows everyone to combine skills and make an individual mark in the artworks, as well as being a forum for the exchange of ideas related to artistic expression.

I have been developing an art practice since my time as a student at RMIT in 1998. This practice is largely textile based in the form of tapestry as well as quilts and mosaics. My art practice is focussed around my personal life experiences in the garden, the studio and as a home builder. I translate these experiences into abstract colour fields and impressions of flora/fauna that are influenced by the Mille Fleur (15th century) and William Morris (19th century) It is through solo exhibitions, group shows and commissions that I plan to progress and contribute to the arts community"

Miranda has worked at the Victorian Tapestry Workshop and on several commissioned tapestry works. She has also worked with Cresside on community tapestry commissions at Chadstone and City of Greater Dandenong and on several quilt commissions.

2006-09-08T18:11:00.000+10:00

Sue Carstairs is overseeing the weaving of the tapestry. She 'discovered' tapestry in 1975 in Canberra with Belinda Ramson and then pursued it further at the Edinburgh College of Art in Scotland for 18 months. From 1978 to 1989 she worked at the Victorian Tapestry Workshop weaving on many projects such as the suite of tapestries for the ANZ Bank, the Aboriginal works for the Victorian Art Centre and the tapestry designed by Arthur Boyd for the new Parliament House in Canberra.

Since 'retiring' from the Workshop to raise a family, Sue has worked on several community taapestries - Flemington Primary School, and in collaboration with Cresside at P.L.C., the City of Greater Dandenong and St Francis Xavier School at Berwick

2006-09-08T15:29:00.000+10:00

Cresside Colette, Designer of the "Tree of Life" Tapestry

Originally trained as a graphic artist, Cresside has been a tapestry weaver for thirty years. Trained by Belinda Ramson, she became a foundation weaver of the Victorian Tapestry Workshop in 1976 and worked as a production weaver for fifteen years as well as developing her own professional practice.

She has exhibited her work in six individual and over twenty group shows since 1971, and has designed and woven fifteen community tapestry commissions.

She was the recipient of an Australia Council grant to undertake postgraduate studies at the Edinburgh College of Art in 1980. Returning to study in 1998, she completed an Honours Degree and a Master of Fine Art (by research) at Monash University in 2003. Cresside curreently tutors at RMIT University in tapestry and drawing.

2006-09-08T14:06:00.000+10:00

"In the midst...was there the tree of life,...and the leaves of the tree were fofr the healing of the nations."
Revelations 22.2

The 'Tree of Life" is a large tapestry which is being woven for the RMIT Soiritual Centre. The aims of the project are:

1. To create a unique work of art that will be the visual focus of the RMIT University Spiritual Centre

2. To involve the students and staf of RMIT in a major design projectthat reflects the skills and talents of the School of Art, Design and Communication.

3. To foster and develop a sense of shared community within the Institution.

4. To enlarge the skills base in the art of Tapestry Weaving for a large number of Studion Textiles students by providing a professional forum in which they can gain industry experience in the weaving of of a sizeable commissioned tapestry.

The tapestry was designed by professional tapestry weaver, Cresside Collette, and is being woven under the supervision of Sue Carstairs. Two other professional weavers are working on the project - Miranda Legge and Julie Jones - as well as a number of volunteers and students. Work commenced on the tapestry a couple of months ago but it has taken me this long to figure out how to 'blog'. In the next few posts I'll tell you more about the tapestry, the design process, the people involved and how its going as well as a few pictures

2006-09-06T11:51:00.000+10:00

This is just a test to see if I can get going