GALLERY den HAAG

II. UNICORN

It took me almost two days to graph the basic design for the unicorn from a friend's pillow. Then, even though I embellished the design of the original unicorn, the squares of the 1/4" graph paper were so much larger than the size of the 12" mesh I selected that, without realizing the relationship of graph to mesh size, I was shocked when the UNICORN turned out to be the size for a doll's pillow.

Not knowing how to "correct" this, I began to work on my second needlepoint, the I CHING, and only later returned to border the UNICORN. I also decided, from then on, to do only original designs directly onto the canvas with as little graphing as possible.

The UNICORN border designs were inspired by many sources, including a hand embroidered, antique, Chinese, silk spread I owned at that time. In studying this, I learned one of the first principles of Oriental art: though at first glance the whole may seem symmetrical, further study will almost always reveal infinite variation within a seemingly regular or repeated pattern. Or, as I was to hear ALI AKBAR KHAN state it many years later when I was studying North Indian Classical music with him: "When you practice singing, vary it each time. If you are singing Sa to Re, Pa to Ni, whatever, never do it the same way twice."

The UNICORN was stitched as I travelled back and forth across the United States as part of my work as Director of National Production Programs for The American Film Institute. Of all my canvases, it caused the most comment. Perhaps because, at that time, the unicorn was just becoming a well known icon, or, perhaps, because red, white and blue have a particular appeal for Americans. The unicorn is often depicted with one paw raised to indicate that it will not step on any living thing.