Her Tapestry Saga Is No Yarn

In a tiny apartment across from the Hard Rock Hotel, a 72-year-old nomadic artist who goes by the single name Sola has spent the past three years weaving a vibrant tapestry of Las Vegas that will blow your mind.

Embroidered and textured palm trees frame casino properties. Turquoise blue pools dot the landscape. MGM Grand, woven in metallic green, anchors the south end of the Strip. Golden beads mark streetlights that extend north toward the mountains.

Marquees announce Elton John, Danny Gans, Cher. Air-conditioning units sit atop the Sands Convention Center. Hotels, civic buildings, Hard Rock guitars, motel signs, office parks and side streets all clamor for attention.

She put more than 8,000 hours into the piece, working alone in her tidy, sparse apartment, sometimes measuring buildings and counting windows at night from the tops of parking ramps and Strip towers. If a hotel has 54 stories, she wove 54 stories from the ground up.

Holidays, birthdays, weekends, every day.

“I’ve reduced life to the simplest focus — my tapestry,” she says, glancing at the 11-by-7 1/2 foot work that leans against her living room wall.

Today, with the help of Marty Walsh, owner of Trifecta Gallery, the tapestry moves to Atlantic Aviation, the former Las Vegas Executive Air Terminal, where it will hang until it is sold. As she has with her other tapestries, she will donate the profit to arts and other organizations.

Sola has been weaving cities since the 1980s, when she wanted to create a portrait of Vancouver, British Columbia, for the 1986 World’s Fair, but didn’t know how to draw or paint. Textiles were her only sure terrain.

She mostly weaves Olympic cities, traveling to different countries, then moving on. She plans to be in London for the 2012 Olympics. She’ll know in October where she’ll be for the 2016 Olympics — Tokyo, Madrid, Rio de Janeiro or Chicago. She hopes it’s Rio.

She came to Las Vegas after reading about Strip implosions and felt an urge to document the city before the buildings were gone. Already, her piece is outdated — the Stardust (imploded March 2007) is on the Strip in her tapestry, and the Tropicana marquee lists “Folies Bergere” (closed last month after 49 years).

Recycling yarn from thrift store sweaters, Sola literally wove Las Vegas from the fabric of the community. Stretching a swatch of a coal gray Gap sweater, she says, “See, that’s parking lots.”

She’s friendly, chatty. Maybe that’s what happens when you spend all of your time alone, creating and building a city from yarn and string — you feel like talking again.

She has no valuables, aside from what will fit into a rolling suitcase, and buys furnishings at thrift stores and gives them back when she leaves. She wants to own nothing: “I wear the same clothes every day. I just wash them. It frees up income and imagination if you don’t have a lot to take care of.”

Fleeing is her history. As a child during World War II, she was sent away from her family in London during the blitz. She stayed with a host family in a village in Wales, roaming the hills and picking wool off fences, then returned to London after the war. In the ’60s, she settled in Toronto and opened coffee shops and other venues for folk singers and rock stars passing through.

Her daughter lives in Vancouver. Her mother, 96, lives in London. Friends are spread across the globe. Her income comes from knitting hats that sell for about $40 in Vancouver. “Thank you, Gap, for using such incredibly beautiful materials,” she says, stretching a stylish hat, one of hundreds stacked in her bedroom.

Sola shows no sign of fatigue. Trim and fit, she talks about wanting to live to 100.

“If I can touch yarn for 10 hours a day then I am in absolute heaven and I want to do it for as long as I live.”

She heads soon to Vancouver, where she’ll stay through the 2010 Winter Olympics. A cartoon map of Vancouver is taped to a door. When she leaves her apartment for the last time, she will peel it off, fold it up and tuck it into her suitcase. It will be the last item removed.

Taken From LasVegasSun.com

Temple's $1m Tapestry Helps Save Costs

by DARYLL NANAYAKARA

A TAPESTRY - sewn with threads made of gold - was on display at Ngee Ann City Civic Plaza as part of a thanksgiving and prayer ceremony by the Singapore Seu Teck Sean Tong Yiang Sin Sia temple.

The session for the Taoist temple at Bedok North, which ran from last Friday to yesterday, saw close to 240 devotees chanting prayers for three days and drew a crowd of more than 10,000.

The tapestry, which is about 5 by 10 metres, adorns altars at the temple's religious ceremonies and costs more than $1 million.

But could the money have gone to better use in the current economic climate?

Not necessarily.

Mr Joe Lim, the temple's spokesman, told my paper that the temple already donates more than $200,000 a year to various charities and the new tapestry is more durable.

This means the temple need not spend more to replace or maintain it in future.

The money for the tapestry came from the temple's sponsors, devotees and donations collected at the temple's seven branches in Singapore and Malaysia.

Mr Lim added: "In the past we used regular fabric, but it was damaged very easily due to wear and tear over the years.

"With this gold-threaded embroidery, we believe we can use it for the next 50 years without having to replace or repair it."

The temple had commissioned the tapestry in the early 1990's to "preserve the reputation and image" of the temple.

It would be inappropriate "if the temple holds religious ceremonies using cloths that are torn and dirty", Mr Lim said.

In 1992, temple devotees came up with $600,000 from their own pockets and arranged for a group of villagers in Shantou, China, to sew the gold-threaded tapestry by hand.

The finished product was completed in 2000 and bears motifs of mythical creatures and other symbols of worship.

Mr Lim added that donors were aware of the temple's decision to invest in the embroidery.

Devotee Jeffrey Eng, 49, said: "The temple announced its plans to members. Such a project is good because the art of putting together such a tapestry is rare."

This is because very few craftsmen now know how to sew it. "This is a dying trade. If we tried to get this done again, chances are it would be almost impossible because it would be hard to find people who are still doing this by hand."

Taken From AsiaOne.com

Tapestry Of Picasso's Guernica Marks Whitechapel Gallery Reopening

The Whitechapel Gallery in London's East End has marked a £13.5 million expansion by welcoming a version of Picasso's anti-war work Guernica, 70 years after the original was shown there.

Turner Prize-nominated artist Goshka Macuga helped convince Margaretta Rockefeller to lend the Whitechapel the 20ft long tapestry for a year, which has been on long-term loan in the United Nations building in New York since 1985.

It was commissioned by tycoon Nelson Rockefeller, Margaretta's late husband, in 1955.

Seventy years ago Picasso's monumental painting, which depicts the 1937 Nazi bombing of the Basque town of Guernica during the Spanish Civil War, was shown at the Whitechapel for two weeks, attracting 15,000 people.

Polish-born Macuga, 42, said she was inspired to revive the spirit of that event.

Knowing that the Museo de Arte Reina Sofia in Madrid would not agree to let the painting travel, the Whitechapel approached the Rockefeller family.

Macuga said the tapestry had been given extra significance as an anti-war symbol since Colin Powell delivered his flawed evidence on the apparent existence of weapons of mass destruction in Iraq in the run-up to the invasion in early 2003.

Then the Guernica tapestry, which normally hangs outside the UN Security Council chamber, was covered by a blue cloth - apparently to make television pictures of Powell clearer.

The excuse fooled no one.

Macuga said: "If you are starting a war you are not going to do it in front of an anti-war symbol."

To accompany the tapestry, Macuga created a hollow round-table for people to hire for discussions, filled with war and anti-war propaganda. She commissioned a bronze cubist-style bust of Powell, which she said represented "a figure who is falling apart morally". In 2004 Powell admitted the evidence he submitted to the UN on WMDs could have been wrong.

The commission, sponsored by Bloomberg, marks the gallery's reopening after its £13.5 million Heritage Lottery Fund-sponsored refit, which has almost doubled its exhibition space.

Iwona Blazwick, the Whitechapel's director, said: "The expansion enables us to be open all year round so there will always be something for free to see."

It reopens to the public on April 5.

Taken From Telegraph.co.uk

A Stitch In Time As Work Continues Ahead Of Ros Tapestry Exhibition

THE DEDICATION of the Ros Tapestry voluntary embroiderers is currently being put to the test as they eagerly focus on finishing the tapestry panel 'ExVoto Tintern Abbey' on time for the opening of Ros Expo on April 3.

Ros Expo, a permanent exhibition of the Ros Tapestry, is a dedicated exhibition centre at Priory Court on the quay in New Ross, opposite the Dunbrody Famine Ship.

The 14 tapestries will have taken a decade to reach completion, a remarkable achievement realised by an extraordinary group of people from all over the county and beyond.

Over 100 voluntary embroiderers – some of whom have been dedicated to this mammoth task since 1999 – and their expert tutor, Alexis Bernstorff have never been anything other than committed and positive to the task in hand.

Ros Expo will be open all year round to visitors after its opening on April 3.

Taken From NewRossStandard.ie

The Guernica Tapestry, Whitechapel Gallery, London

Picasso's fury screams out still

Reviewed by Michael Glover

Welcome back! Picasso's Guernica, that supremely sombre evocation of the destructive powers of war, first went on show at the Whitechapel Gallery in 1939, after it had been exhibited in Paris.

The painting, a commemoration of the destruction of the village of Guernica by Franco's forces, had been made by Picasso in his Paris studio in 1937, in a furious outpouring of pity and anger.

Now, a version of Guernica is back at the Whitechapel, as part of an installation by Goshka Macuga, to mark the gallery's reopening after refurbish-ment. This is not the painting you'd have seen in 1939; that one is permanently installed at Madrid's Reina Sofia Museum, too fragile to travel.

In some respects, the installation at the Whitechapel is more impressive than what can be seen in Madrid. In London you approach it face-on, and you can get up really close. In Madrid, you come at it side-on, like a listing ship. There is no way you can walk directly back a pace or two to take in the enormity of the terrible message.

The other advantage is that this version is not so colourful. It is woven in tones of brown, cream and black, which adds a strange intensity. Look at the original, and you experience a near-riot of movement and agitation. Nothing stops.

Everything seems to be decomposing before our eyes. Arms reach out. Hands claw at nothing. A disembodied head floats. Mouths yawn in inaudible screams. The heads of mythic beasts skew violently.

And we – the merest we – approach this monumental distillation of human suffering like petty-minded voyeurs. We are suddenly plunged into the midst of it, all this jaggedness, all this laceration, all this falling apart. And the colour seems to add a horrible decorative gaiety to the scene. Strip it of most of that colour, as here, and you have scarified it to the bone.

At the Whitechapel, you approach it along a blue carpet. It's close to the blue of the UN, where the tapestry usually hangs. It is here to remind us of that moment in 2003 when some goon ordered that it be covered up because Colin Powell was about to deliver a speech in support of the invasion of Iraq. Did Picasso's minotaur rage back in the muffled dark? Or did Powell just dream that later?

5 to 18 April 2010 (020-7522 7888; www.whitechapelgallery.org )

Taken From Independent.co.uk

Tapestry Exhibition in Sancti Spiritus, Cuba

By Manuel Echevarría Gómez

A tapestry exhibition by Luisa María Serrano (Lichi) was opened in the central Cuban province of Sancti Spiritus to mark the 40-year-old artistic career of this outstanding artist.

After a long absence, the artist is back to settle a debt that transcended her life-work, the use of colors in her creations.

The recent work of this autodidact artistic, which was considered a turning point in this city’s plastic arts concepts in the 80s, resembles her previous intimate freedom.

Lichi joined Sancti Spiritus’s plastic arts free workshop in 1965, where she learned painting. She presented her first exhibition in 1968.

She has presented her work in local and international expositions and has been awarded several prizes in local salons.

Taken From Escambray.cu

St John’s: 2 More Tapestries Ready

Restoration of the second set of tapestries from the St John’s Co-Cathedral collection is now complete and the Belgian Embassy in Malta is investigating how to bring them back to Malta – although it is still not clear where they will be displayed.

The Cathedral Foundation recently dropped unpopular plans to create an underground museum beneath St John’s Square which would enable all 29 tapestries to be displayed at the same time. However, no other plans have been put forward yet.

The Cathedral Chapter, which is represented on the Foundation board, was unanimously against the project and has recommended that an extra floor be built on top of the annex.

The tapestries are being restored by the King Baudouin Foundation at the Royal Manufacturers De Wit, a company of weavers and restorers founded in 1889. Today, it is the leading tapestry restorer in the world for museums and one of the leading laboratories for private customers.

The first 2, depicting Grandmaster Perellos and the Triumph of the Catholic Church, were sent to Belgium in November 2006 but the delicate restoration process took less than the 2 years expected and they were returned to Malta in December 2007.

The embassy in Malta got involved to sort out a tricky logistical problem: Getting them to Belgium, no easy task given their size and weight.

Current ambassador Jean-Francois Delahaut explained that his predecessor, Thomas Baekeland, managed to get help from the Ministry of Defence to use a military plane, which stopped off in Malta on its way back from an overseas assignment.

They were then taken from the military airport to Brussels and then back the same way to Malta.

Mr Delahaut confirmed that the next 2, Triumph of Faith and The Institution of the Feast of Corpus Christi, were sent to Belgium in December 2007 and are now ready.

“The whole collection of 29 needs to be restored. The long-term intention is to go on with the restoration of the whole set so there is quite a few years’ work. Each of the tapestries has its own particular problems. Time has not treated all of them equally,” he told www.di-ve.com.

The budget for the first 2 alone ran into 6 figures. The set, considered to be priceless and unique, was ordered from the Brussels atelier of Judecos de Vos for the sum of 40,000 scudi and was based on cartoons of the same subjects by Peter Paul Rubens (1577–1640), except for the panel representing the Last Supper that was woven on the cartoon of Nicholas Poussin and a panel with the portrait of Grand Master Perellos, probably based on a drawing by Mattia Preti.

Mr Delahaut expressed confidence that the right solution would be found for the tapestries’ display.

“The tapestries survived the centuries in good condition, which shows that they were cared for, for over 400 years, by very competent people,” he said.

Taken From Di-Ve.com

The Mystery of History: Arrow Ross Debuts His Photo Journal Of Peruvian Weavers

By: Lauren Hodges

PERUVIAN CELEBRATION:Arrow Ross showcases an ode to the ancient people, places and things of Peru, as inspired by textile artist Maximo Laura.

So many trends have come and gone in the art world. Some went on to the Modern Museum of Art, while others were doomed to be stapled to wood paneling (ahem, velvet paintings). The true test of quality art seems to be staying power. Is it a mere chapter in the book of creative history, or does it still influence modern-day artists?

When local photographer Arrow Ross visited Peru last April, he was introduced to one of the oldest and most influential art forms in the world. “It is amazing how old the techniques of weaving are,” he says. “The people in Peru, they just keep the tradition going.”

Ross’ discovery began at No Boundaries, a local painters’ retreat arranged by Dick Roberts, Gayle Tustin and Pam Toll, with whom Ross shares space at Acme Art Studios. It was there that he met Maximo Laura, a Peruvian artist who had come to the Carolina coast to paint.

“He was a good painter, but he kept talking about his tapestries,” Ross says. “I was just amazed at how detailed they were. Later, someone bought one of his tapestries, and when I heard how much he sold it for, I said, ‘Oh my God, that’s all it was? I would have bought it for 10 times that price!’ So, I had to learn more.”

Ross, originally from Denmark, has quite a few stamps on his passport. His next trip would be to Lima, Peru, to visit his new friend and learn about the craft that went into Laura’s tapestries. “When we got there, he and his wife welcomed us into their home.

It was a large blue house that had started out as one room many years ago. They kept adding rooms and then floors. Now it is five floors.” The first two floors of the house consist of Laura’s weaving rooms, staffed with 20 trained crafters.

Most of Laura’s employees are family members. “He supports them all,” Ross says. “He is a very generous man.” “He was a good painter, but he kept talking about his tapestries,” Ross says. “I was just amazed at how detailed they were...

Each of the staff has been personally trained by Laura himself, who has work hanging in the Smithsonian and several other museums around the world. Each work is handmade in his home by the people he trusts. As Ross scans his photo album from the trip, he stops at a shot of what he calls “the butterfly room.”

“These are the butterflies,” he says, pointing to a pile of yarn bunches. “They are pre-made threads created by twisting yarn into the color scheme needed for the design of the tapestry. It’s a mathematical process.”

The precise colors are determined after a sketch of the design is produced by Laura and his helpers. “He sketches it all out on paper, and then they draw it into the loom,” Ross notes, pointing to another series of photos.

Once he had his photo album organized, Ross decided to add something extra to a few of them. “While I was in Peru, I took a lot of photos of the landscape,” he says. “This one here is of Machu Picchu. I was in awe of these ancient cities and the art that came out of them. People like Maximo are carrying on those ancient traditions.”

He used his skill with Photoshop to superimpose Incan icons into the landscapes and a few into the images of Laura’s tapestries. “I just wanted to put some things together,” he says. In one of his most poignant pieces, Laura’s face is translucent over one of his most intricate tapestries.

In another an Incan sculpture floats unattached against a background of Peruvian ruins and hillside. “I wanted to give the pictures some depth and put the people into the creations.”

Ultimately, Ross wanted to pay tribute to the deep past and people, recreating the strong connections he felt while visiting Peru. “There was such a mystery there,” he says. “I loved that mystery. I was so drawn to the history of these people and what their lives was like back then.

We see here, in their pictures, so many clues to their past.” He is mostly fascinated with the Incans’ ability to preserve their culture, even after their civilizations died out and the Spaniards invaded South America.

“They were all forced to convert to Roman Catholicism, but the people found secret ways to pass on their beliefs,” he points out. “Because they were so artistic, the Spaniards had many of these people painting, weaving and sculpting for them.

Even though the icons they represented were Christian, they snuck in images of the moon and stars, which is what they worshipped.” He points to an ancient image of the Virgin Mary. “

You can see here that they painted her like a mountain, even though it just looks like her dress is shaped like that. This was to symbolize Machu Picchu, the great city that the Spaniards never found.”

To this day people like Maximo Laura are responsible for carrying on those traditions for which his ancestors fought so hard.

Taken From EncorePub.com

Arena Stage's 'Delicate Balance': Perfectly Weighted With Subtlety & Smarts

By Peter Marks
Washington Post Staff Writer
Monday, February 16, 2009; Page C01

What a pleasure, lapping up all that angst. You wouldn't call "A Delicate Balance" a consoling experience. And yet you do feel swaddled in comfort during Arena Stage's revival of Edward Albee's brilliant dramedy of the inarticulate fears marinating in the martini glasses of the elite.

That's because the expert hands deliver an evening of combustibly entertaining drama, of a variety that reminds you how enriching a play can be with a subtle and sophisticated grip on the human psyche. This is grown-up theater -- the bristling sort that gives a playgoer hope, even when the theme is a strange brand of hopelessness.

Not to bring the room down, but you do also find yourself wondering, as you absorb the pleasures of six actors going at one another in the becomingly civilized quarters of Todd Rosenthal's living-room set, why more evenings can't be like this one, especially at Arena.

No major company in Washington represents a more vital link to the American tradition of great playwriting, and none has more authority to reaffirm it.

So let the endorsement of this production also be an entreaty: Give us more work of this caliber, please, even if these plays are harder to sell than they were in yesteryear. (And even if it means fewer visits by tours of famous-songwriter jukebox revues.)

As presided over by director Pam MacKinnon, who staged the juicily satirical "The Unmentionables" at Woolly Mammoth 18 months ago, the revival of Albee's Pulitzer-winning piece feels as solidly built as the immaculate manse in which the turbulent story unfolds.

It's been populated with a splendidly well-suited cast, particularly in the person of Kathleen Chalfant, who plays Agnes, the lady of the house, as a reluctant, caged scorpion with a finely disguised stinger.

Her match is met by Ellen McLaughlin in the bravura role of Agnes's younger sister Claire, a truth-telling lush whose specialties seem to be making messes and drowning in her anger at Agnes's unbreachable wall of composure.

What's constructed here is a portrait, flavored with Albee's lacerating wit, of people losing their grip, divesting themselves of the lie that life makes more sense as we grow more maritally settled and materially secure.

The collapse of the facade is terrifying for no group more than those who have the money for minks and wine cellars and country clubs, those who have committed the most belief to the illusion that all's well that ends well.

At the moment, the entire world is feeling a sense of dislocation. It's surprising how presciently this 1966 play nestles into contemporary consciousness -- even as the mysteries in Albee's tale keep a line open to the absurd.

We find ourselves in the tony home in a wealthy suburb that Agnes and her husband, Tobias (a bracingly convincing Terry Beaver), share with volatile Claire. Perched in Arena's Crystal City space, Rosenthal's light-filled set all but smells of old money, down to the demitasse cups and tapestry hanging in the hallway, and costume designer Ilona Somogyi dresses the women, from blowsy Claire to sleek, buttoned-up Agnes, to perfection.

Agnes opens the play, commenting about someday losing her mind, and from there on we get the escalating idea of everything around her coming apart.

The childishly exhibitionist Claire seems to be slowly drinking herself into oblivion. Agnes and Tobias's unpleasant, eternally unsettled daughter Julia (Carla Harting) turns up, a refugee from her fourth failed marriage.

Then, most curiously, into the driveway pulls the car of Agnes and Tobias's best friends, Edna and Harry (Helen Hedman and James Slaughter), who have arrived uninvited and soon make it clear they have no plans to leave.

The choreography of understated responses to Edna and Harry's outrageous condition -- they experienced some type of existential crisis in their own house, and now are too frightened to go back -- is handled in crackerjack fashion by MacKinnon and her cast.

The dread they've brought into the house is swept to the side in the spirit of hospitality. Or perhaps it's only vaguely acknowledged because Edna and Harry have violated a taboo, bringing the terror everyone secretly harbors into the open.

Hedman and Slaughter niftily maintain the traumatized couple's sociable air, as if their imposing on Agnes were as expected as showing up for cocktails at 5. You laugh at first because everybody's been there, with the guests who wouldn't leave.

As you watch further, however, they become less funny, more harrowing. Despair always leaves you with that certain feeling in the pit of your stomach.

Albee threads through the play's three acts the battle between Claire and Agnes, a conflict the actresses treat as a delightful blood sport. Behind her hooded eyes, McLaughlin vibrantly portrays Claire as a wounded thing, rebelling against her sister's sense of propriety and yet holding back some ammunition, for fear of doing more harm to Agnes than she intends. Chalfant's droll ripostes to the wilder Claire are so dry you think the paint might spontaneously start to peel.

Harting envelops Julia in an aptly sour perfume of failure; as with Claire, Edna and Harry, Julia's taking shelter with Agnes and Tobias is a way of shutting out the world and in her particular case, a world of disappointment. But as the play reveals, awful truths pursue you, and walls have a way of closing in, no matter how beautifully they're decorated.

A Delicate Balance, by Edward Albee. Directed by Pam MacKinnon. Lighting, Allen Lee Hughes; sound, Timothy Thompson; wigs, Chuck Lapointe. About 2 hours 55 minutes. Through March 15 at Arena Stage in Crystal City, 1800 S. Bell St., Arlington. Visit www.arenastage.org or call 202-488-3300.

Taken From WashingtonPost.com

Animals Tapestries - A Great Idea for the Den or Family Room Wall Decor

Having a menacing cheetah roaring on a wall in your sitting room or a stately elephant raising its trumpet on a wall of your lounge can really make all the difference there can be to the decor of these rooms.

With animal tapestries, you can really set a mood to the room decor. Just think the kind of difference putting up a cute puppies tapestry could make over putting up a moose tapestry. The tapestry could change the entire outlook of the room. But that's exactly what people who use animal tapestries in their rooms are looking out for.

That will make you realize how important it is to choose the right kind of animal tapestry. The drawing on it is of supreme importance. There are animal tapestries with just one animal on it, or there are tapestries with groups of animals, usually of the same species.

There could be tapestries with just sketches of the animals, or some kind of artwork that represents the animals but does not show them explicitly. These are usually the more interesting ones, but they do not set a particular mood to the decor of your room.

Speaking of mood, you can also get an animal tapestry of mythical and extinct animals to set a really enigmatic mood to your overall room decor. Lets not forget the horse lovers who have large quarters, stables and other areas to hang more than one large tapestry.

Messenger of Spirits is a subtle, yet powerful and sophisticated horse tapestry that all of our lovers of horses would be proud to hang in their wall decor collection.

One thing that you remember when getting animals tapestries is that the border at times is very important. This actually accentuates the entire look and feel of the tapestry. You will find both broad border and narrow broader animal tapestries.

The broad border ones generally have a darker color with some animal motifs interwoven into them. The mail animal picture in the center is in a lighter color. Due to this contrast of light and dark colors, the entire feel of the tapestry comes out to be quite nice.

These are more graphic in nature and the tapestries rely more on their weave rather than the mastery of the artwork. Narrow bordered animal tapestries, on the other hand, focus completely on the picture of the animal.

In most cases, this picture is a natural picture, i.e. a picture of the animal in its natural surroundings. A lot of detail goes in these pictures. These tapestries (narrow bordered ones) are also more expensive than the broad bordered ones.

The rods you select for hanging the animal tapestries do not matter quite as much as in other tapestry forms. In animal tapestries since the design it is so effective; accessories such as the tapestry rods take a backseat. Plain black rods will do quite well for the animal tapestries.

Maridee Hanselman writes about home decor enhancing your wall decor and your lifestyle. Animal tapestries can be created in a contemporary tapestries motif that work exceptionally well in the den or family room, which a dramatic flair and subtle tones and colors.

A creative way to enhance, but not go overboard in your room decor. Usually, the African safari comes to mind, but consider a beautiful messengers of spirit tapestries with a horse motif, as another good choice for the horse lover, too. Pick up more tips on wall decor from this popular website, photophobias.com. Nothing scary here.