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Studio Materials Tests

Updated: May 17, 2022

Rough journalling...

Fabric paintings. March/april 2022

I’m trying to find materials/methods to hang my fabric paintings that interfere with the fabric in the least obvious ways. I want to preserve the flexibility of the fabric on all four sides and allow for things like fraying and warping to be seen. Also thinking about weather I want to be prioritising the front of the painting by placing the supports at the back?

Test 1: two chains.

Pro: slackness of fabric

Con: sags in the middle (even with a small work, will be worse for large works)

Chains pull in from the sides.

Test 2: two chains with semi-stiff support between clips.

Pro: stops sagging in the middle.

Con: hangs kind of like a flag or curtain. maybe this is just more obvious with the smaller pieces.

From one side the support is visible- giving the work a ‘front’ and ‘back’

Support blocks light and makes a border.

Test 3: Two chains with rigid support. Fastened with clips on large painting (110cm wide)

Pro: clip fastening on each side allows the fabric to fall in the centre

Con: looks awkward, but maybe won't with better materials (this is literally just junk I had lying around that could stand in for proper stuff)

How could I make the pole 'disappear?'

Test 4: Two strings with rigid support fastened to the back with double sided tape.

Pro: front side is ‘clean’ (no clips or punctures) On the back side, the support could be painted to camouflage.

Con: Double sided tape is a crap material and you shouldn’t use it. If

this is an avenue to go down, you will need something more reliable. (glue…..?)

A deep shadow is created with the heavier fabrics, they are slightly rippled and adhering the whole length of the pole makes this even more obvious. (I like the ripples)


Chain for hanging:

Pro: I like the silver glittery effect. Makes me think of garments and clothing.

Con: Shit material to use. Only effective for what I want if its very thin, and then it loses strength. Fiddly.

Picture hanging wire:

Pro: can come in nice silver that glistens like chain (or gold, ooooh!). Convenient to use.

Con: too stiff and doesn’t straighten under the weight of the fabric.

Fishing line:

Pro: transparent

Con: Stretchy and hard to knot, but overall probably fine for now..


  • ‘Spider wire’

  • Perspex strips or acrylic rods as top support

  • Sewing a hem into the top of each painting and slipping a rod through??

  • Using a stiff support to hang with vertically instead of horizontally (as in poles instead of a string) this could keep the corners of the fabric in place and leave some flexibility on the top edge.


  • Finding a material that could be put into the top edge of the fabric that could stiffen it. Yu Fang mentioned some chemicals perhaps… Could also look into interfacing fabric and buckram (for stiffening curtains and dresses)

  • Hovering the rod slightly above the fabric painting and using multiple points of contact along the top edge

Some more tests to try with lighting and projections (EXCITING!!)

  • Individually lighting each painting with a clean rectangle and having a dark room – painting will appear like a screen.

  • Could do a few paintings with the same proportions of a phone and television….?

  • Projecting the reference photo over the top of the painting. Either digitally or with a print on an overhead proctor. (Maybe too fiddly and I don’t want too much emphasis on the tech, it’s more about the image and the light)

  • Projecting the reference photo onto the back of each painting. That will light the painting from behind and from the front. Parts will glow, and parts will be masked by the thicker paint. Walking around the back of the painting it will feel like a screen.

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