In the context of digital art, of 'happening', of video projections and sculptures made with perishable material, dominated by the ephemeral, tapestry can seem at the same time precious, refined and perhaps a little unusual ''High level art, made to last, that heats your house naturally.'' This is more or less how the slogan would sound if we were ever to hear an advertisement for a brand of tapestry.

In an interview, a young Columbian artist explained the multifunctional and complex aspects of tapestry with an inspired joke. ''If at some point I notice a mistake in the pattern too late to change it, and it can't be exhibited as a work of art, it's no problem; I can use it as a blanket, or in the worst case as a rug. It's sure to keep me warm.''

These were the twin roles tapestry had in the Middle Ages, when this type of art flourished; decorative, luxurious art, as a symbol of aristocracy and functional art, for comfort, as thermal insulation. Things haven't changed much since then, except that in Romania the number of artists interested in tapestry is much smaller than in the workshops of Bayeux in sixteenth century France.

The current obsessive tendency to replicate and fake almost anything, with all having to be reproduced in the shortest possible time, encourages a cult of the copy, sometimes to the detriment of the original. Yet a limited space still seems to be left for those who, for the love of their profession, deliberately choose to ignore the inventions of the third millenium. ''On the other hand, this should raise the value of the unique,'' argues Irina Pascal-Hasnas, who has dedicated the majority of her creative time to tapestry.

Irina Pascal-Hasnas gives such special attention to tapestry because of this almost unique aspect. ''I like the idea of involving more the tactile sense and the possibility of choosing the most suitable material to express a particular idea. I also like to work a lot with the transparency of materials, whatever their nature.''

The fact that she worked as a curator for several years at the Peasant's Museum in Bucharest encouraged her in this choice of work. It helped her understand the comprehensiveness and

perfection of traditional Romanian art, to which nothing needs to be added, in her opinion.

Irina Pascal-Harmas likens tapestry to a rare bird, insufficiently appreciated. ''Today, the main outlet for textiles in art is in clothes design, while tapestry requires far greater attention to detail.''

Irina chose art as an adolescent, thinking of the freedom of movement and flexible programme she would have if she succeeded in the profession. Her model was her father, an actor. ''At that time, it was a good enough reason, but later I realised the immense satisfaction which this profession brings, along with the other advantages I had as an adolescent, through access to a type of education a little different from that of the majority,'' Irina affirms.

Among her most significant formative experiences was her time as an art teacher in Massachussets, where the globalisation of universal terms in the language specific to the plastic arts helped her to overcome possible weaknesses in her knowledge of English.

''The best way to promote art is to teach others about it. I love the idea that everybody is a potential artist, as long as they are encouraged from an early age to express themselves, whatever the manner or means they use to do so. I think this democratic view is a reason for my choice to spend the next two years in the US, where I will take a course in museum studies, focussing on traditional and contemporary art, and a masters degree in anthropology. The American view of art is a little different from that in Europe, which remains elitist. In Europe, the aesthetic and exterior aspect of art seems more important; to visit museums and collect art. In America, you are encouraged to express yourself, in whatever way you choose, even if you are not a professional artist. Art is seen much more as therapy, as a means of communication. Both visions are important and complementary. This is why I need to leave my present context and see something else,'' she says.

When it comes to the idea of changing something in Romania, Irina Pascal thinks seriously about the education system. ''I would like education to be focussed on the individual and not just on the masses, because we live more and more in a world of diversity and individuality.''

The most important dimension of art is to define the human condition, says Irina. ''There is no such thing as beautiful art or ugly art. To be an artist doesn't mean you have to have specialist qualifications, but to practice your profession with skill, devotion, fantasy and risk.''