The Restructuring – Part 2

Posted on May 13, 2020 by Lois

This post, and this project, are both heavy on process. Figuring out how to make this work, putting in the hours to make it happen, and sticking with, it I see as parallel to the changes that need to happen in society. Hopefully this won’t be too full of weaving ‘geekiness‘ so non-weavers will understand it. There are LOTS of pictures!

I finished weaving the very first part of the piece by the beginning of Passover (4/9). Then it was time to start shifting the tablet weaving warps around. First step was to split the center band.

To be able to move the tablets in the reed, I needed to re-chain the warps. I spent one evening just switching the warps from 40 tablets in the center band from a single chain, into 20 chains, each chain having the warps from just 2 tablets.

**Moving the tablets to split the center band.**

About 5 hours later, the tablets were moved, and it took another day to weave “Time to Share”.
(I have only been sporadically keeping track of the time I’m spending on this project.)

That evening I re-chained up the warps for the side bands into chains for each individual tablet. Once that was done, I realized that I actually needed to chain up the warps for the center band into individual tablets as well.

Before I started the process of spreading out the tablets, I decided to rearrange them so the threads would make diagonal lines.

I wove 4 picks in the new configuration and then the ‘fun’ began. I started with 3 tablets on either side of the center bands, and moved them over 2-4 spaces in the reed. To do this, I need to unweight the warp chains, then one tablet at a time, I pull the warp threads & tablet out of the reed, move them over 4 spaces and them pull them back into their new space. The warp chain has to go between the heddles in the correct spot (or I won’t be able to get a shed and pass the shuttle through).

This is probably the most intense piece I’ve ever done / worked on. As the world is unraveling I am slowly changing the the structure of this cloth. One tablet at a time, I pull the warp threads & tablet out of the reed, move them over 4 spaces and them pull them back into their new space, over and over again. Once the group of cards are in there new locations, the warps need to be re-weighted and the tablets aligned with the base warp. Everything has to be in exactly the right place to be able to get a clear shed. I weave 8 picks (weft threads – passes of the shuttle) then start the moving process again.

When the warps from the center band met the warps from the outer bands, it got even more challenging (interesting?). Now I had to decide how those warps were going to cross and the pattern of moving each tablet 2 empty spaces in the reed (4 dents) didn’t work as they crossed. Took some time to figure those challenges out. Made me think about how do we spread out the wealth in society, as well as how we re-integrate people who have been marginalized. What happens when those two movements intersect?

The photo on the right is how far I got after working on this for 2 weeks. The next step was to start spreading out the side bands. There were about 3 more moves and the first tablet from the edges will finally make it into the center of the cloth. Once most of the tablets have reached their new spot, I’ll start taking the warps out of the tablets and threading them into the waiting heddles.

Most of this post was written on April 28th. As of today (May 13), I’m still working on this project. I have just started removing tablets (4 so far) and threading those warps into the base cloth. I still have a couple more moves to get all of the tablets in the order I want them. More posts to come…

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The Restructuring – part one

Posted on May 4, 2020 by Lois

As the Covid-19 pandemic really started impacting our lives and the stay at home order was given, another one of my ‘fiber-brained’ ideas hit. I’ve been working on this project for about 6 weeks or so and I’m probably about 3/4 done with the 2nd part. This has become a very involved project, so I’m going to be posting about it in stages. Much of this first post was written at the beginning of April when I had the loom set up and had just started weaving.

So, what am I doing?
I’m weaving an art piece that combines tablet weaving into a loom woven cloth. The goal / plan is to start with the fabric set up one way and then gradually restructure the cloth.

Inspiration
The Covid-19 pandemic is clearly showing, to anyone paying attention, the many things in our human world that do not work. It is also showing us how we are all connected. Wealth and power are concentrated in the hands of the few. Huge numbers of people, especially people of color and folks who don’t fit the dominant culture’s norms, have been marginalized. The result is a threadbare society where it is far too easy for people to fall through the cracks. This fabric is not very functional or sustainable.

It is time to weave a new cloth.
How do we do this? The simplest thing is to start over. Cut the old warp off the loom and put on a new one, simple, yet totally disruptive. Do we really want to throw out everything about our current society, and try and start over from scratch? It would mean massive sudden change, and could cause chaos, revolutions, and wars.

I am attempting a different process.
I have set up my loom with a foundational warp that is very sparse – 1/2 the number of warp threads per inch than usual for the size of the yarn. Added to this are 3 tablet woven bands. In the center is a green and yellow/gold one. On each side is a grey and tan band. the same yarn as the background warp. The center band will have a $ sign and the word “POWER” then “TIME TO SHARE”. One of the edge bands will say “FEAR – LACK” ➔ “ABUNDANCE”. The other will say “OPPRESSION” ➔ “LIBERATION”. This beginning represents our current society.

Sample bands woven to test out how the letters would look.

Weaving both traditional cloth and tablet weaving (two completely different structures and techniques) is going to be challenging enough. Then comes the really tricky part. My plan is to gradually spread out the threads from the bands across the warp. Eventually they will be removed from the tablets and incorporated into the background cloth. (I left heddles spread between the background threads.) I cut a nine yard warp, so after the transition is complete, there should be enough warp to weave nine hand towels, sturdy functional cloth, to represent the society we want to create.

Ground cloth warps are on harnesses 1 & 2
The band warps will go on harnesses 3 & 4

I think this is going to work, though I’m not entirely sure how. Normally the warp is set up on a loom and you don’t change it. If the weaver wants to change the look of the cloth, they can easily change the weft or possibly the treadling, but the warp, the underlying structure of the cloth, doesn’t change.

Adding the bands on top of the main warp

The underlying structures of society need to change so everyone’s basic needs are met and they have the opportunity to learn, grow, and become the best version of their true self. How do we get there? I am sure there are a myriad number of answers out there. Some may be simple and / or quick. Others will be complex, and many will certainly take time. And I expect shifting the 272 warp threads (68% of the total) into new positions will be all of the above. My goal is to get the 1st section woven by the beginning of Passover. (I finished this part on 4/9 the first day of Passover.)

I’m probably crazy to be attempting this project. I am also feeling very compelled to do it. It is time to share, it is time to weave a new cloth of society. Wish me luck and wish us all success in weaving a better world.

Notes:
5 colors of warp x 80 ends each = 400 ends
160 Dark green and Yellow/gold – 8/2 tencel – shiny – Represents wealth / money / power
240 Gray & tan – cottolin & white cotton – humanity
Weft – olive green cottolin – represents life / earth / spirit – connects everyone
10 dent reed – beginning background cloth 10 epi, when restructuring done, it will be 20 epi.

To see more progress pictures:
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Finding Focus, Again!

Posted on April 4, 2018 by Lois

I recently started a 6 month business coaching group, and we are working on our ‘brand’, and coming up with a version of the ‘elevator speech’. Great, this will be awesome, and so helpful which is immediately followed by the question of ‘which business?” This reminded my of a couple of art pieces I did five years ago, so here’s the story on those.

Income quilt – This piece started from the idea of piecing together an income like a quilt. I had gotten to the point of adding the threads to the piece. My first plan was to use all nine colors of threads and connect each color in a zigzag back to the base color. As you can see below, that didn’t work. It was insanely chaotic.

I tried four more ideas, none of those were going to work either.

By this time I realized this idea wasn’t working in my life as well. There were too many different things, no focus, no cohesion. I needed to get back to my focus, ceremonial cloths and my connection to spirit. I needed to let some things go, and for the piece that meant to leave some of the pins and pieces unconnected. I thought about starting over, decided that this was a transitional piece, and it had become about Finding Focus, which is now it’s title.

While I was finishing that piece, I had the idea for the Path to Avodat ha’Lev, which means the work of the heart.

Path to Avodat Ha’Lev, The Work of the Heart

The gold and silver puzzle pieces represent Spirit. The twisted threads are following the path created by Spirit into the center. As you follow the path inward, colors are left behind, it becomes simpler, more harmonious. And in the center is weaving, a web, the web of life and a heart. Spiritual weaving, the work of my heart. A few months after finishing this piece I finally had the courage to tell someone “I make sacred cloth”.

Now I get to figure out how to distill all of this into a marketing message for my business.

For anyone who was following my “Art Story”, this post skips ahead in the timeline by almost 3 years from the last installment which was published in Jan. 2014. Sigh…

Weaving Tallit

Posted on June 23, 2017 by Lois

Some projects just have their own timetable. Apparently, this is one of them.

April 2017 – Loom set up since October 2016.

I wanted to weave more painted warp tallit, so I ordered linen yarn for the warp. That was in May of 2014.

Finally got started at the beginning of Oct. last year (2016). Wound the warp, dyed it and got it on the loom in about 2 weeks. My goal was to have at least one woven by the Seattle Weavers’ Guild sale at the end of the month. With barely a week before the sale, I realized it wasn’t going to happen, and if I tried, it would be rushed, and I wouldn’t enjoy the process. Totally not the right energy to be putting into a piece of sacred cloth.

Life happened, so it wasn’t until the beginning of April that I started weaving – Yay! Finished weaving in the header and discovered that the tension on the warp was uneven. Not good, especially with a linen warp since linen has virtually no stretch. Discovered that at the end of the warp, there wasn’t any packing on the warp beam. So, un-wove everything, un-lashed the warp, re-rolled the last yard or so, re-tied on, and got it back to the same point it was when I started that evening. More ‘Life Happening’, and so it sat again.

June 2017 – Loom set up after adjusting the warp tension in April. Ready to start again.

Last night, I started weaving! So, to keep this project moving along, I’m going to post progress pictures of the day’s weaving as I go along. I’ll post them on my Facebook page, and then do a weekly summary on this blog. Hope you enjoy watching the progress. So here we go!To secure the end of the weaving, I do a type of hemstitching. It essentially creates a row of twining at the beginning so it won’t unravel. Using a long tail of the weft, you go over one warp thread and then diagonally under the next one locking the weft yarn in place.First 10 inches of weaving done. Warp is a 20/2 linen sett at 24 epi. Piece is 27” wide, so there are 648 warp ends. The main weft is a 20/2 silk yarn. The blue and purple are 8/2 Tencel. Note: before doing the hemstitching, wove in more header to the beginning of the dyed part of the warp (no photo).

Close up of the weaving.

“Pulling Spirit into Daily Life”

Posted on January 1, 2014 by Lois

It was the third and last quarter of the certificate program, and time to start on our final piece that would be in our class show. After the harsh critique of my last piece, I wanted to ‘redeem myself’ and make a better one. Rather than starting with a new concept, I decided to continue working with the same subject. The second result was way more successful in expressing the ideas I had. During my meditations prior to the first piece (along with the words “pulling the threads of spirit into our daily lives”) I saw the juxtaposition of two different types of textiles connected with threads or yarn. The felt would represent the spirit world that is often only sensed with an intuitive feeling. The woven piece, with it’s gridded pattern, would illustrate the regulated structures of daily life and the human penchant for categorizing and labeling everything. Adding the connecting threads would open the possibility to begin merging the two worlds.

One of my goals for the certificate program was to find a focus for my work. While working on this piece I realized that I had found it. A lot of artists focus on a specific technique and/or subject matter. For me it’s the concept and ideas behind the piece not the technique that is my focus. And overall, it is the Spiritual aspect that has become the primary focus for my work.

This piece is the second in what will eventually be a triptych. The third piece will be “The Spiritual Life”. Looking back, these pieces were representative of my own journey. I needed to make “…Awakening to Spirit” first, as it reflected my past. When I made “Pulling Spirit…” it showed where I was on my path at that time. I started to prep the fleece for the base of the third piece, but that’s as far as I’ve gotten on it. The compelling need to work on it again hasn’t happened yet. I’m still pulling those threads of Spirit into my daily life. When it’s time, I’ll make that third piece.

“Daily Life Awakening to Spirit”

Posted on July 11, 2013 by Lois

It was the beginning of March 2010 and the end of the second quarter of the certificate program. The major focus for the quarter was “Conceptual Strategies in Fiber Art” and looking at the creative process in general, and our own process in particular. Towards the end of the quarter, we were to reflect on an old piece, and use it as a springboard for a new piece, our final piece for the quarter. Since I couldn’t decide which piece to reflect on, I looked at two pieces, “Shamanic Connections” and “Finding the Patterns in the Puzzle of Life”. Working from those pieces and another idea that I got during meditation, I started on my piece “Pulling the Threads of Spirit into our Daily Lives”. I finished the piece the night before class, mounted it the next morning, wrote the reflection on it in the afternoon, and headed to class that evening.

For those of you reading this that have taken art classes, and have turned in work for critiques, you know what a challenging experience they can sometimes be. I had one of “those” critiques that night. In class we were asked to say whatever we wanted to about the work. I felt unprepared, and unsure of what to say. I started rambling on about unimportant details, because I couldn’t bring myself to talk about my personal angst issues which was what I had been thinking and writing about in my original reflection.

This is part of what I wrote: “The experience of doing this piece was both fun and challenging. The fun part was doing the work. When focusing on the tasks at hand, I would lose track of time and get absorbed in the processes. The challenging part was mostly on a personal and emotional level. This program has been helping me deal with all the issues that stopped me making art 20 + years ago. Working on this piece brought up the issues I have with the fundamental value of doing this type of work. The questions of; is it worth doing, is it a waste of time/money, etc. are staring me in the face. Making this piece, or any finished work, brings these issues to the surface where I have to deal with them. I have pushed myself out of my comfort zone.”

Back to the critique that night, the one positive comment I remember is someone liked the fact that I used a rectangle instead of a square which had been part of my original design. The one that really got to me was the instructors question and comment: “Is that blue blobby thing supposed to represent spirit?” to which I said yes, and he replied “It’s not really working for me”. Right… now what.

So that night after class I stayed up very late, and thought a lot more about the piece. So once I had gotten done “wallowing in my emotional stuff”, I was able to look at and think about the work itself. I liked the piece and it felt right when I was done, but there was something bugging me about it as well and I was unsure what it was. The piece didn’t say what I had intended, so in that sense it didn’t work.

Visually, the woven part looked “plopped” down, and didn’t relate to the background. The felt background is very subtle and indistinct. Was it too plain? There wasn’t enough connection between the hand-spun yarn in the woven part and the felt background. The woven portion dominated the piece visually while being smaller than the background. It felt uncomfortable, tentative and unresolved. It was very unbalanced.

Then I asked myself what did this piece have to say, and this is what I came up with along with a new name for it:

“Daily Life Awakening to Spirit”
Dominating the piece is the woven portion representing daily life. It floats above the surface, removed and separate from the spirit world. The felt background resembles how spirit is viewed from this perspective. It is very hazy and indistinct. It’s unknown, you can only see things in that world if you look closely at it. The hand-spun yarn becomes spirit beginning to weave itself into our daily life but only in places, a bit at a time. The piece feels disjointed and unbalanced because this can be a very disconcerting state. You know that something is not right, that things are changing, shifting, but what and how is not known. It requires an enormous amount of trust to reside in this place and even more to continue on the journey to discover and embrace Spirit.

The following were my final thoughts about this piece and the experience of making it:
“Working on something this nebulous and intuitive requires an enormous amount of trust. I know that I’m not entirely in control of the process, and the work (or any given piece) can seem to take on “a life of it’s own”. This piece seems to have it’s own message and said what it needed to say. I need to pay better attention. So, hopefully I’m back on a productive path, doing something worthwhile.”

The next quarter I did a second piece, the one I had intended to make, “Pulling Spirit into Daily Life”, which will be the next post in my Art Story.

Shamanic Connections – Facing the Shadows

Posted on May 10, 2013 by Lois

Metallic threads are couched onto the hand dyed fabric.

It was the summer of 2009, and I was still searching, trying to figure out what to do with my work. How in the world am I going to make my living? I decided to sign up for a two month prosperity circle with Julie Charette Nunn. At our first meeting, we were supposed to start with a goal and come up with steps or actions to take to achieve it. Since I didn’t really have one, my first goal became “to discover what I want to do”. Within a month, I found it – to make my living as an artist working in fiber and mixed media. It’s what I’ve wanted to do most of my life, so it was more a rediscovery, and giving myself permission to believe it possible.

As part of the prosperity circle, one of the homework assignments was a shamanic shadow exercise. We were to go outside at sunset and look to see what was hidden in the shadows. We were to ask what can be used to bring it into the light and to free write about the shadow. This is a very powerful thing to do, as most of us don’t want to look at the dark side of things, especially those dark parts of ourselves. A short time later, an image and these words came to me during meditation: “The Shamans stand in the darkness at the edges of the veil between the worlds providing a path/bridge to those who seek”. This became the inspiration for this piece.

I made this little sign to put up in my studio about this time.

After a month of being in the prosperity circle, I decided to sign up for the Fiber Arts Certificate program at the University of Washington Extension. In my last post I mentioned that during the certificate program I figured out that I had been asking myself the wrong question. Part of that was facing my own fears about creating the work I really wanted to do. I was afraid that if I made work with a spiritual focus, I would be opening myself up to ridicule, and being mis-understood. The work would be too personal, all over the map visually and stylistically, and would never sell. I came face to face with all of this one night during class. I said what I wanted to do was figure out what I could make to sell. After some pointed comments by the instructor, and a lot of self reflection, it finally sunk in that if I want to make my living as an artist, the art needs to come first.

Dyed and painted silk fabric, beading and embroidery, 24” x 24” created in 2010

The following day, I got out an old bolt of fabric and as I cut off a chunk for this piece, I could feel the panic rising, all of those internal fears trying to stop me. But I kept going, washed the fabric and dyed the background the next day. There is a lot of personal symbolism in this piece. The wood beads represent humans which are sewn on with glass beads symbolizing the spirit within each person. Grouped in the center is a large cluster of wooden beads; the majority of people who live in the light of the everyday normal world.

The beads in the outermost part are Swarovski Crystals.

The outermost section was hand dyed and then painted with metallic fabric paints.

The beads on the edges of the outer circle are the shamans and spiritual teachers, the crystals are the spirits, angels or beings in the unseen world, and the beads in the rings are people who are seeking the knowledge of Spirit. The silver threads are the connections being made by Spirit reaching out to connect with humanity, and humanity reaching for Spirit.

Originally I thought of this piece as being about other people as shamans, and it was to honor those brave souls who heed the calling to look through the shadows and darkness and have the courage to face the fear to see beyond. I see now that it was also how I was facing my own fears, and looking through the shadows to seek guidance from Spirit, and to communicate what I learn through my art.

A couple of postscripts to this piece. I had decided to have 11 “shamans” or connection points between the worlds, 11 being a master number in numerology. The silver threads, connecting through those 11 points started to look to me like dancing figures. Some time later I learned about the Thirteen Indigenous Grandmothers and realized that there are spaces for two more “figures”. I’ve thought about adding two more. Maybe I will someday.
And one last thing. The day I was reviewing my notes to write this post, Rabbi Brant Rosen was in town, and that evening I attended a talk he was giving about his work and new book on the Israel/Palestine situation. It’s about his journey of looking at the dark side of Zionism, facing his own inner conflicts over this issue, and his calling to seek a just peace for everyone in the Middle East. He is truly a guide who has faced the darkness and is providing a path for those who seek a new way to connect and make peace.

“Homage to Eve – Amidst the Swirling Mists” – Art Story Introduction

Posted on December 13, 2012 by Lois

This post is about beginnings. The birth of the idea Ceremonial cloths. My first piece of conceptual art made after a break of 20 years. A new understanding of my process. And the introduction to my story as told through my art.
Ceremonial Cloths is Born
On November 1, 2003 I attended a Wiccan ritual for the first time. It was a dedication ceremony for my niece who was about to begin studying Wicca for a year and a day. It was a ritual about beginnings, starting on a new path for my niece as well as for the rest of us attending. It was lovely and meaningful, and I was surprised when I woke up the next morning to a flood of insights that came throughout that day and the next. (It turns out that November 2, 2003 was nine years and one day before receiving the Best Proud Past Award. Hmmm…) The biggest insight was that I now knew what I needed to do: Ceremonial Cloths, custom made with love and reverence, and a need to serve the Divine through this work. Wow, was that an enormous order to fill. It has been a long, slow process to get to the point where I now feel truly prepared and ready to do this work. And so I begin my story…
The next five years were very busy on a personal level, which included my father dying, moving and joining Kadima in 2005 to start our son’s Jewish education to prepare him for his bar mitzvah. And finally on December 11, 2008 I finished my first piece of conceptual art in almost 20 years. It just so happens that I’m writing this on December 11, 2012. Another ‘interesting coincidence’?

“Homage to Eve – Amidst the Swirling Mists”

This small sculpture features a female figure in the center of a spiral of small dowels. The threads coming out of her ‘feet’ swirl around her but don’t touch her. That’s partly how I felt at the time. It was like I was caught in the middle of these swirling mists where nothing was tangible. There was nothing I could touch or get a hold of. I was trying to figure out what I wanted to do with my work. There were so many options and possibilities but it all felt so vague and out of reach. The only thing I knew was that it would be something to do with my art and spirituality. The ceremonial cloths seemed like an impossible dream hidden in the mists.
“Homage to Eve ” was directly born out of my explorations of my spiritual path. Along with attending Jewish adult education classes at Kadima, I’ve been studying various Earth-based religious practices and traditions. When I made this piece I was in the middle of studying the Ogham, a system of knowledge from trees in the Celtic tradition. I was studying one tree a month, and that month the tree was Hazel which was about creativity. I had also recently received the book listen to her voice, Women of the Hebrew Bible, by Miki Raver. The challenge for that month of study was to create something in honor or in homage to to one of the Biblical matriarchs. I chose Eve. Her name means “Life -Giver” or “Mother-of-All-Who-Live”. “Eve was the first human to embody the divine process of creation.” (1) This piece gave birth to the renewal of my creativity and my art.

Several years later, I finally woke up to the fact that this is part of my process, the way I figure things out. Being a visual thinker makes verbal communication a challenge at times. I will often get an image, perhaps a few words or a phrase to go with it. Then I start thinking of ways to create a 2 or 3-dimensional representation of it. Now that I am allowing myself to go ahead and create these pieces, I am learning from them. Sometimes ideas pop up while I’m working, but often I need to study the finished piece for a while before the meaning(s) would become clear. And sometimes a piece will continue to tell me things as time goes on. This piece is a good example of that. It wasn’t until I was writing this post that I realized something very significant. When I made this piece, I knew I hadn’t been making art for a very long time, but I hadn’t realized how long, and I certainly wasn’t expecting this piece to open the door to creating again. So the fact that I chose Eve, “The-Mother-of-All-Who-Live” as the subject for a piece about creativity, and the results of that choice, seem very powerful to me.

One more thing to say about all of this, the theme that runs through this post is listening to Spirit. As I truly believe that, fundamentally, everything is connected in some way. When there are ‘coincidences’ or when things happen on an anniversary, I take it as a message from the “Great Whatever” to pay attention.

The plan is to tell my story through a series of posts about my art. Each of these works tells a piece of the story of how I have gotten to where I am today. Look for the next post in this series at the new moon in January. It will be about “Finding the Patterns in the Puzzle of Life”.

Best Proud Past Award – Art Story Prologue

Posted on November 15, 2012 by Lois

My story begins with a piece that was finished in 1989, nearly 25 years ago. I was truly honored Saturday evening November 3, when I found out it had been awarded ‘Best of Show’ for the Proud Past portion of the Seattle Weavers’ Guild 75th Anniversary art show. The show, sponsored by SWG is called “Putting the Art in Fiber Art, Proud Past, Dynamic Future, is at the Art/Not Terminal Gallery in Seattle, WA through November 27th, 2012.

‘Gaia – The One and the Many’
Size: 18-1/4” x 20-1/4” x 1” – Completed: 1989
Materials: cotton, beads – Techniques: handwoven, beading

This piece was inspired by a quote from the book The Turning Point by Fritjof Capra, 1982, “The image of the Goddess…with the one manifest in the many and the many dwelling within the one”. If memory serves, this was my first introduction to the concept of a feminine Divine energy, and the Gaia hypothesis — the earth as a single living organism. Using modern physics as a basis, the book examines the many ways that everything is connected. My intent was to create a visual image or representation that showed the spark of divine light within each of us as separate entities and yet together they create a greater whole.

There is a lot of personal significance for me that this particular piece was chosen for the award. “Gaia, the One and the Many” was the last piece of conceptual art I completed for almost 20 years, but was never shown publicly. In many ways it was a foundational work for me. This piece was more complex than my earlier work in concept as well as utilizing more elements and techniques. It was the first exploration of my personal philosophy that everything is connected in some way. And it shows the beginning of my now deep connection with the Divine Feminine. The timing is significant as well. I love the “coincidence” that an artwork about the “Goddess” was awarded best of show now that I am truly launching my ceremonial cloths business, dedicated to imbuing cloth with sacred intent.

The next post in this series will fast forward about 20 years (with a brief stop 9 years ago) when my need to create art finally re-asserts itself.

Lois Gaylord's Interwoven World

Weaving Oneness through Spiritual Art & Textiles

Tag Archives: Fiber Art