“I’m in a building that’s big, made with blocks of stone. It feels like it’s hundreds of years old, I’m not sure how many stories it is but it’s feels like it’s almost a square. It’s like a museum, kind of dark and in shadow. There are windows on the far wall. It’s just a really thick stone wall, kind of grey. It’s open in the interior, like the Guggenheim in New York, but with square corners instead of round. The landings are all on the outside and it’s open down the middle so you could potentially see all the way to the bottom. I can’t see to the bottom as it’s murky down there. I’m walking down the corridor along the outside edge of the top floor, heading toward the staircase, I’m going to turn right and start heading down. But on my left is this tapestry that I would have just walked by except that, as I’m walking by it, it moves, or it’s folded or there’s some way that it gets my attention. From first glance it’s sort of nondescript, it’s faded, it doesn’t really stand out. But then it gets my attention, and I turn and look at it. The tapestry is quite big, maybe 15 feet high, bigger than me and 6-8 feet wide. It’s really, really old. Like one of those carpets that was bright red when it was made but has now faded to a pale orangey colour. And when I look at it, I don’t really see any detail, I can’t really tell what’s on it. But I think I see a tree, and in the dream I think, the tree of life. It might be like an oak tree, that kind of shape, it’s deciduous, fully leafed. And I get the sense there’s a river. And I also get a sense that it’s one of those tapestries where there’s a story or a myth being depicted. It was very detailed and densely woven. There’s so much in it, it feels like all of life is represented in it. The tapestry feels richly filled with people and animals and all kinds of symbols, it’s crowded with stuff.
“There is a small group of people starting in the same place I did. They want to see this tapestry so I have to move along because there isn’t enough space for us all. You can’t stand back and get a good perspective because the railing is there, and the dropoff. They are big wooden railings. They’re oak, carved, thick, old, somewhat ornate. The top has this wide curved, carved surface, and there are spindles underneath. At the corner of the stairs is a feature, a curved piece of wood to mark the corner. The corners of the building are square, but the railing is curved. They are beautiful even though I don’t like them. I have an adverse reaction to this railing. I don’t like oak.
“So I stand and look at the tapestry for a little while, and then I have to move reluctantly out of the way to let these people see it. I realize I have to share. I go further down. When I moved away from it and looked at it from a different angle, there was a whole different scene – like those scarves from India that are different colors depending on the angle of light, but the tapestry was much more complex than that, a thousand times more intricate. It felt like if you shifted your angle even just a little bit, it shifted the picture. It felt like it could change anyway, with time as well. It felt very magical.”