To dream that you are in a meeting, suggests that you need to redirect your energies toward a more productive endeavor. Alternatively, the dream means that you are learning to accept various aspects of yourself and integrating them into your personality.

To dream that you are late or miss a meeting, signifies anxieties that you are not measuring when it comes to achieving your goals. You may unprepared in some situation or challenge in your waking life.

Dreaming that you are in a meeting, suggests that you need to redirect your energies toward a more productive endeavor. Alternatively, you are learning to accept various aspects of yourself and integrating these various parts. Dreaming that you are late or miss a meeting means anxieties that you are not measuring when it comes to your professional life and toward achieving your goals. You may feel unprepared in some situation or challenge in your waking life.

To dream that you are buying artwork, suggests that you are willing to work hard and follow directions. However, you lack leadership abilities.

To dream that you are selling artwork, represents your ability to express yourself and your beliefs.

The symbolism of texture has received scant attention nor has it
even been recognized as a problem. But certain trends of contemporary art indicate that the material quality of a work of art, or the relationship between the
apparent surface—space—and the surface proper—the inter-relationship of points in space—is once again being accorded that recognition it formerly enjoyed in
ornamental and even in figurative art. We may see in texture two essential component elements: one that produces a pattern of lateral concurrences and one which,
so to speak, thrusts upwards. The first—the lateral—factor gives rise to features
which are sometimes pre-formal—nascent, symbolic forms only to be glimpsed
after careful study, related to the paradoxical ‘informal forms’ (symbolic blots,
klexographies, paper-transfers, and so on), to the so-called ‘buried symbolism’ of
some works of art—which has been seen as a kind of infra-configuration produced by the play of light and shade, by the brush-strokes or by the background
patterns—and associated also with the symbolism of composition in so far as
this creates an effect of perspective. But texture proper is determined by the
quality and thickness of the impasto, of the material, and by the structure of this
material as it is understood in mineralogy, producing textures which are caked or
fibrillar or pearlitic or porous or cellular, and so on. Broadly speaking, textures
may be divided into the hard and smooth and the soft and porous. Since the
impression of smoothness (or continuity) is increased in proportion to the distance from which it is viewed, all smooth textures may be regarded as symbolic of
remoteness and, by analogy, of cold colours. Conversely, porous textures symbolize nearness and warm colours, expressing a greater degree of inner dynamism
in the material and in the corresponding tactile sensation. More detailed conclusions than the above could be educed only after a closer study of the problem of
texture.