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United States
Printmaking, Cyanotype on Paper
Size: 22 W x 26 H x 0.1 D in
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On 100% cotton Arches watercolor paper with deckled edges. It could be float-mounted with the edges showing. This 30 x 22 inch monotype is larger than my 24 x 18 inch “Three Camelia Branches.” Although I spent 10 years as a traditional printmaker using a press, my botanical cyanotypes are each one-of-a-kind slow cameraless photographs made outdoors using natural light. There is no lens and there is no etched plate or printing press. This is a triple-exposure cyanotype, which means that the plants were laid three different times on the photo-sensitive paper for different carefully timed exposures, creating the varying shades of blue rather than a solid white silhouette against a dark blue background as in traditional cyanotypes. Every botanical cyanotype I make is a unique monotype. There is no way to reproduce exactly the same effects even if I keep the same plant cuttings to use in a series before they wilt. There is no carved block nor etched copper plate—only the sun causing the photo chemicals to darken every second that it remains exposed to light.
Printmaking:Cyanotype on Paper
Original:One-of-a-kind Artwork
Size:22 W x 26 H x 0.1 D in
Frame:Not Framed
Ready to Hang:No
Packaging:Ships Rolled in a Tube
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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United States
Clients include: Timothée Chalamet, Starbucks, Mayo Clinic (Jacksonville), Jumaira Resort, Lux Habitat Sotheby’s International (Dubai), Wyndham Worldmark Hotels, Kimpton Hotel Monaco (Salt Lake City), Mazars Accounting, Limelight Hotel Mammoth (California), MD Anderson Hospital (Houston), Oncology Center, Houston Methodist Hospital. For a complete list of my corporate clients, visit the "About" page of my website www.christineso.gallery/ To see videos of my artistic process, visit me on instagram at @christinesogallery I live in the woods in northern California looking out across the San Francisco Bay towards the hills of Marin, San Francisco and Angel Island. The distant blue hills of my “Faraway Hills” series are ever-present fixtures in my real life. Down below is the bay and above is an endless web of tree branches. Their silhouettes have etched themselves into my memory. My paintings and prints are always nature-inspired and nearly always monochromatic. Having spent a decade as a printmaker making woodcuts, linocuts, etchings, aquatints and monotypes, my mind works in monochrome. I focus on a single color, composition, positive and negative space, pattern, lines and shape. I currently work in two mediums, acrylic painting and cyanotypes, a form of camera-less photography. Cyanotypes are a 19th century form of lensless photography also known as photograms, blueprints and sun prints. They resemble block prints or etchings but use no ink nor printing press. Light “etches” the image on paper I had painted with light-sensitive chemicals. MY NEWEST SERIES OF ABSTRACT CYANOTYPES: My technique is a form of experimental photography, much like the action painters Morris Louis, who poured his veil paintings, or Jackson Pollock who dripped and drizzled his. My abstract cyanotypes are luminous like watercolor paintings but are actually photographs. Each is a multiple-exposure lensless photograph make through deliberate movements of the light-sensitive paper during exposure to light. Different sections of the paper were exposed to light for a longer or shorter time, yielding multiple shades of blue. Each abstract cyanotype is entirely unique. These same lines, shapes and shades of blue cannot be recreated as the exposure of the paper was heavily manipulated by me during each printing. A traditional single-exposure cyanotype yields a white silhouette against a dark blue background.
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