Match the fixing to the wall

The wall decides the method, not the canvas. A painted plaster wall in a rented flat takes soft anchors and nothing that cuts a large hole. A solid brick or concrete wall takes a screw and a wall plug, and that is usually the most secure option for a heavy print. Drywall over timber studs is the easiest surface to work with, because you can locate the stud and screw directly into it. If you cannot find a stud, use a toggle bolt or a heavy-duty hollow-wall anchor rated above the weight of the print. A canvas print of Ibrahim Salahi's work is not unusually heavy, but the surface area makes it catch air movement, so a single fixing at the top is not enough.

Before you drill, press a finger against the wall in the spot you plan to use. A hollow sound usually means drywall or plaster over a cavity. A solid sound usually means brick, concrete, or a stud behind the surface. If the wall is old lime plaster, use a hand-driven screw rather than a power drill, because the plaster can crack under vibration. A canvas print of Ibrahim Salahi's work deserves the same care as any large print, and the best methods for securing large art prints start with this kind of diagnosis rather than with a hammer.

Fix the frame, then set the height

Most canvas prints arrive with a floater frame or a stapled stretcher, and either one needs a bracket that sits close to the wall. A flush-mount bracket is the simplest choice for a single person hanging the work. Screw the wall piece to the anchors, then hang the frame on it and check the level before tightening the final screw. A French cleat is the more secure option for a larger print, because the weight is spread along the whole length of the cleat instead of sitting on two points. Either method keeps the canvas flat against the wall without a gap that collects dust.

Set the height before you fix anything permanent. A common rule is to place the centre of the print at eye level, which for most adults is around 145 to 155 centimetres from the floor. In a room with a low ceiling, drop the print a little lower so the ceiling does not feel oppressive. In a room with a high ceiling, raise it slightly so the print does not float away from the room. A canvas print of Ibrahim Salahi's work can be read from across a room, so the height should suit the distance as much as the wall. If you are renting, keep the original screws and fill the holes with a small amount of filler matched to the wall colour, then sand it flat once it is dry.

Protect the wall and the print

A canvas print sits slightly away from the wall when it is hung correctly, and that gap is useful. It lets air move behind the print and reduces the chance of mould in a damp room. It also makes cleaning easier, because you can dust the wall behind the print without touching the canvas face. Do not push the canvas flat against a newly painted wall, because the paint can stick to the canvas backing and lift when you eventually take the print down. Leave the 20 to 30 millimetre gap that the bracket allows, and do not add extra spacers unless the print is warped.

If the wall is delicate, use a protective pad on the back corners of the frame. A small self-adhesive felt pad on each corner stops the frame from scratching the paint when the print shifts. It also stops the frame from rattling against the wall in a room with heavy foot traffic. A canvas print of Ibrahim Salahi's work is not fragile in the way a paper print is, but the frame and the wall both deserve the same consideration. If you are hanging more than one print, leave consistent spacing between them so the group reads as a arrangement rather than a row of separate decisions. For a single print, the wall damage is usually limited to two small holes, which is the trade-off for a secure hang.