I have dabbled from time to time with transparent quilts – using fairly strong colour to show a pattern through nylon or silk organza. Take these two untitled pieces, for example: each is about 1.25m h x 90 com w. Because they haven’t ‘led’ anywhere I have only ever named these works ‘Transparent 1’ and ‘Transparent 2’ 🙂 Each was built up of blocks/modules machine sewn together, and that process certainly contributed to the uneven drape of each piece, so that was one thing that bothered me. I was heavily influenced by Chungie Lee’s Pojagi workshop at FibresWest workshop in 2006. But if I were making these works today (this is a 2026 update) I would keep the front and back fabrics whole, fuse shapes onto the back and then lay the front piece over, sandwich, baste and quilt. These pieces both date from that time, and back then I had no idea of the bonding materials that are widely available now.
But the other thing that bothered and prevented me ever feeling happy enough to exhibit these pieces is that really, there isn’t a way to hang them with any kind of rigid support enclosed in a sleeve on the back side that doesn’t show from the back to the front. Does this matter these days? … probably not if the intention is to drape like a dustsheet or a large curtain, but that wasn’t my intention at the time I made these pieces. A clear acrylic rod do I hear you suggest? A friend displayed a lovely work on one, and after a month under gallery lights it had visibly sagged, so I don’t think it’s necessarily a long term option.
After a trip to Egypt in 2007, I wanted to use sheer fabrics again to explore the ancient origins of historythat influence the country as it is today. The effects of layered sheers with free machining were pleasing, but I still wasn’t happy with the hanging system of a fine dowel rod in a narrow sleeve approximating to the width of the binding on the sides and lower edge. It shows through the fabric – distracting, imho.
So, these difficulties have in effect put me off – am I being too fainthearted? In 2026 it’s still an issue for me. I know I could get some of these effects by careful stencilling, perhaps – but I just want to use the fabric. A recent discussion with fellow stitchers I zoom chat with each fornight has led me to rethink these works, and others I’ve seen, I’ve been considering the whole issue of hanging arrangements for textile artists – including embroiderers, and art quilt makers like myself. Any reader with bright ideas or valuable experience to share – I’d love to hear from you!
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Tags: hanging problems, sheers
You’ve nailed it, Alison. Sheers are so tempting an idea, but I have yet to see a solution when it comes to hanging that doesn’t diminish the aesthetics.
All I can say is wow! These pieces are incredible. They started a firestorm of ideas in my feeble mind.
I have a piece that I am having trouble thinking of a hanging system as well. I am going to try a yardstick ruler and some fishing twine. That thin strong nylon stuff. My piece is shaped like a large iguana and not sheer like yours though. I am often challenged with finding good ways to hang odd stuff, like my maps.
That is where my mind went crazy with this. I have always worked solid with my maps. I
What if I can do a layered map where the layers show through?????? Ahhhhhh!
Sorry, I can’t help you with yourhanging problem, but I do think these pieces are wonderful so I hope you solve the problem.
When you FMQ them, do you find they can take the quilting without puckering or do you use a watersoluable to stabalise?
You might like to take a look at the work of Rosie James and Cas Holmes who successfully hang transparent pieces. they were part of an exhibition at Festival of Quilts last year. It might be worth contacting them for any tips.
Since you don’t want the fabric to sag, you need to have a rigid support running the full width of the top of the work. If you only support the corners, the fabric will sag in the middle as you’ve discovered. Since you don’t like the dowel, you could use some sort of other item that “fits” the art and becomes part of the art. A painted twig, a flute, etc. but you’d have to do it so that it isn’t trite. That would be part of the challenge. Jane Dunnewold displays sheer art cloths. She has ways to hang them. You could contact her.
Alison, I saw an exhibit in Houston several years ago of shear quilts from Korea. They were beautiful but I don’t remember how they were hung. You might check out Korean shear quilts. however they were hung it did not distract from their beauty. I personally don’t mind the small dowel, but if it bothers you then it is a problem.
Marilyn – your’e referring to pojagi patchwork the popularity of which has been led and spread by Chungie Lee, with whom I took a workshop back in OMG 2002 – I just found the photos from that. Wow. Anyway, continuing looking around, I am beginning to understand that perhaps the most acceptable compromise to me at this stage might be a white or cream painted dowel rod to show though as unobrusively as possible. I’ve seen several mounted on almost invisible frames holding them out a distance from a wall so that there’s a shadow pattern behind the work – adore that and it remindes me of some lovely work done by Dijanne Cevaal years ago in an exhibition of her and Clare Smith’s work I saw in NZ. If a particular design I have in mind warrants an opaque edge treatment, binding or other, of course,a sleeve could go invisibly behind that. But I’m still looking and thinking.
Regina – virtually every example I have sen of the painted twig or flute type of treatment looks exactly that – trite. And in relation to my own design inspirations I doubt I’d ever consider either of those as an appropriate part of the overall design. But never say never!
How about an aluminum tube?
Janis – thanks for your comment, but I think that would be as visible as a wooden dowel rod. It isn’t a matter of weight – its a matter of near invisibility I’m interested in. I have continued to look and have now seen several pieces hanging on acrylic slats – nearly invisible – I have no idea if there is an acrylic fabricator here in Montevideo but feel it won’t be too long before I find out !
How about putting clear plastic grommets in the top edge, one inch apart, then hanging them onto little nails. you could paint the nailheads the same color as the wall.
Hi Alison,
I have seen acrylic rods, used without adding anything unwanted visually. Not sure how accessible they are where you live. Depending on the size, sometimes you can use the rods attached to vertical blinds for twirling to get the blinds to change angles. Sometimes called control wands.
I was going to give you a link, but I guess you can do a search as easily as I just did!
Sandy in the UK
Hi Alison
I have been working in organza recently, and just seen your old blog posting. How did you sew your blocks together. My work is having a whole cloth of organza, position the shapes (tulle, organza, fabric etc) on top. Use a tiny bit of glue to hold in place. Put the next layer of organza over the top. My pieces are whole cloths, but I would like to try blocks, but haven’t determined how best to sew together, so am interested in your advice. I seal the edges with a soldering iron, and that appears to help the piece hang flat. For hanging, I create a casing in the top, and paint a piece of flat wood the colour required. It does create an opaque look, but I havent worked out another option yet.
Have fun!
Ruth
Hilary – sorry its taken so long to reply to your question – I use a walking foot only, pin baste, and never have a problem. I have never used a stasbiliser s its never felt necessary with the way I work.
Glen – wow, transparent maps sound an interesting possibility! as for finisheing and hanging irregular shapes you might start with a couple of my other posts on Dec 16 2009 and Mar 9 2016. Email me either direct or through this website for further discussion on this.
Devon – talk to Apple, or find a young, IT-savvy person.