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!