It's not that the materials are fragile, just the construction is. Between slippery copper knitted ribbon weaving, and silk floss weaving, and the nylon doorway icon woven in sort of secured, and the net overlay, it looks nice, but I have to think how to stabilize the whole thing, perhaps. Iron on stabilizer fabric might do a job on the weaving, though. And possibly some weight at the bottom will help. Anyway, we'll see.
On the offchance that this completes the Doorway series, I'm looking at other design ideas for later on, after the several stitching works I have under way are all done. Here's a longterm idea, and you'll see all the contrasts in direction and subtleties of color and shape and negative space, and well, I like it.
The other stitching works going are looking like this:
Japanese fabric, which I'm continuing from the original designer with goldwork, dyed, and beading. It's about 16 x 20 inches. Much more to happen here. The goldwork icons were my self teaching tries way back, and I wanted to see if they would work in a context.
Almost invisible, a transfer image of a waterlily, on silk, to be worked with gold threads and silk, and I'm going to add in some stumpwork petals as I go. This is probably one to work on in warmer weather, on the patio, in the aforementioned Adirondack chair. A gift from our goldwork teacher.
And here's an initial set, created as an exercise in our goldwork class last year. I dyed the thing with silk dye, after the stitching, and got quite a surprise at how the stitching all shriveled up and crinkled, but I managed to restore it with pressing and resting a printmaking press on it.
I'm think that this, beaded and with more stitching, not yet decided if it will be a Japanese stitching deal, or what, but it will be a signature piece, once framed, to show up at the next exhibit just as my signature to the show.