did the finishing top and bottom, inserted dowels, and temporarily hung it back on the loom pending a more permanent location.
There was a small but mesmerized audience for this process, and plenty of help from library staffers, Director Carol and gallery manager Donna. Donna obligingly stood by the downed tapestry to give you a notion of its dimensions against a human figure. And friend Ruth Levy stopped by to admire the tapestry lying on the floor, after the dowels were inserted, and before it was hung.
Once off the loom, the tension needed to be adjusted, in the places where the inclusions had been put in, the sisters' faces, to be exact. so I did a capital crime -- I CUT the warp at the back in just those areas, and tied it off in several places to release the work while not letting it unravel. And it worked out just fine. Quite exciting, since nobody but me knew this was a form of emergency surgery.
Maggi Johnson, who spent an afternoon observing the solo exhibit Liz had while the tapestry was in process, and who gave very helpful critique, Asha Francis, weaver and knitter, who donated beautiful silk and bamboo handspun yarn which is used in the detailed work, Judy Thompson, who gave beads from her basketmaking stash, for decorative additions, Paula Levy, who gave the original fleece from which much of the yarn was combed, carded, spun and dyed, then woven into this artwork, Girija Jain, who set relatives shopping in Mumbai for gold and glass beads which you see in this piece, and which were delivered by hand to the artist via Rajiv Jain. Then there are the Ravelry website friends who donated the KoolAid in colors not obtainable in this region, when the dyeing was in process!