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These two 12 x 24 inch prints on panels were created as one continuous image of vines crossing over from one into the next, but their composition is such that they also can be hung apart. Together, edge to edge, they measure 24 x 24 inches square, but can be spaced apart at any distance one likes.

Though my prints resemble an etching, block print, or monoprint using ink, these are multiple exposure cyanotypes, technically cameraless photographs made without a printing press.

The typical blueprint or sun print has a stark white silhouette against a solid dark blue background, but I prefer to manipulate the darkening process to achieve various shades of blue. My multi-tone technique is inspired by different kinds of printmaking that I have practiced in the past, especially multi-plate prints and aquatints.

The composition and tones are carefully planned, always keeping in mind the balance of positive and negative space and varied shades of blue to be achieved. The shades of blue depend on the number of seconds of exposure to light that each section of the paper painted with photo emulsion receives.

There is no copper plate, there is no ink, there is no printing press. There’s just the sun causing the photo emulsion painted on the paper to darken every second it is exposed to light. Every cyanotype is a unique monoprint. There is no way to reproduce exactly the same composition or effects even if I keep the same plant cuttings to use in a series before they wilt.

This is a pair of 12 x 24 inch prints mounted on painted wood panels. (30 x 60 cm). They can be spaced close or far apart, spanning anywhere from 25 inches to 40 horizontally. There is no need for framing as the deep 1.5 inch (3.8 cm) white painted sides are a frame.

The papers used in the collage are heavy 100% acid-free watercolor paper which will not yellow with age.The surface was rubbed with an imperceptible transparent layer of cold wax medium to protect it from moisture and dust.
These two 12 x 24 inch prints on panels were created as one continuous image of vines crossing over from one into the next, but their composition is such that they also can be hung apart. Together, edge to edge, they measure 24 x 24 inches square, but can be spaced apart at any distance one likes.

Though my prints resemble an etching, block print, or monoprint using ink, these are multiple exposure cyanotypes, technically cameraless photographs made without a printing press.

The typical blueprint or sun print has a stark white silhouette against a solid dark blue background, but I prefer to manipulate the darkening process to achieve various shades of blue. My multi-tone technique is inspired by different kinds of printmaking that I have practiced in the past, especially multi-plate prints and aquatints.

The composition and tones are carefully planned, always keeping in mind the balance of positive and negative space and varied shades of blue to be achieved. The shades of blue depend on the number of seconds of exposure to light that each section of the paper painted with photo emulsion receives.

There is no copper plate, there is no ink, there is no printing press. There’s just the sun causing the photo emulsion painted on the paper to darken every second it is exposed to light. Every cyanotype is a unique monoprint. There is no way to reproduce exactly the same composition or effects even if I keep the same plant cuttings to use in a series before they wilt.

This is a pair of 12 x 24 inch prints mounted on painted wood panels. (30 x 60 cm). They can be spaced close or far apart, spanning anywhere from 25 inches to 40 horizontally. There is no need for framing as the deep 1.5 inch (3.8 cm) white painted sides are a frame.

The papers used in the collage are heavy 100% acid-free watercolor paper which will not yellow with age.The surface was rubbed with an imperceptible transparent layer of cold wax medium to protect it from moisture and dust.
These two 12 x 24 inch prints on panels were created as one continuous image of vines crossing over from one into the next, but their composition is such that they also can be hung apart. Together, edge to edge, they measure 24 x 24 inches square, but can be spaced apart at any distance one likes.

Though my prints resemble an etching, block print, or monoprint using ink, these are multiple exposure cyanotypes, technically cameraless photographs made without a printing press.

The typical blueprint or sun print has a stark white silhouette against a solid dark blue background, but I prefer to manipulate the darkening process to achieve various shades of blue. My multi-tone technique is inspired by different kinds of printmaking that I have practiced in the past, especially multi-plate prints and aquatints.

The composition and tones are carefully planned, always keeping in mind the balance of positive and negative space and varied shades of blue to be achieved. The shades of blue depend on the number of seconds of exposure to light that each section of the paper painted with photo emulsion receives.

There is no copper plate, there is no ink, there is no printing press. There’s just the sun causing the photo emulsion painted on the paper to darken every second it is exposed to light. Every cyanotype is a unique monoprint. There is no way to reproduce exactly the same composition or effects even if I keep the same plant cuttings to use in a series before they wilt.

This is a pair of 12 x 24 inch prints mounted on painted wood panels. (30 x 60 cm). They can be spaced close or far apart, spanning anywhere from 25 inches to 40 horizontally. There is no need for framing as the deep 1.5 inch (3.8 cm) white painted sides are a frame.

The papers used in the collage are heavy 100% acid-free watercolor paper which will not yellow with age.The surface was rubbed with an imperceptible transparent layer of cold wax medium to protect it from moisture and dust.
These two 12 x 24 inch prints on panels were created as one continuous image of vines crossing over from one into the next, but their composition is such that they also can be hung apart. Together, edge to edge, they measure 24 x 24 inches square, but can be spaced apart at any distance one likes.

Though my prints resemble an etching, block print, or monoprint using ink, these are multiple exposure cyanotypes, technically cameraless photographs made without a printing press.

The typical blueprint or sun print has a stark white silhouette against a solid dark blue background, but I prefer to manipulate the darkening process to achieve various shades of blue. My multi-tone technique is inspired by different kinds of printmaking that I have practiced in the past, especially multi-plate prints and aquatints.

The composition and tones are carefully planned, always keeping in mind the balance of positive and negative space and varied shades of blue to be achieved. The shades of blue depend on the number of seconds of exposure to light that each section of the paper painted with photo emulsion receives.

There is no copper plate, there is no ink, there is no printing press. There’s just the sun causing the photo emulsion painted on the paper to darken every second it is exposed to light. Every cyanotype is a unique monoprint. There is no way to reproduce exactly the same composition or effects even if I keep the same plant cuttings to use in a series before they wilt.

This is a pair of 12 x 24 inch prints mounted on painted wood panels. (30 x 60 cm). They can be spaced close or far apart, spanning anywhere from 25 inches to 40 horizontally. There is no need for framing as the deep 1.5 inch (3.8 cm) white painted sides are a frame.

The papers used in the collage are heavy 100% acid-free watercolor paper which will not yellow with age.The surface was rubbed with an imperceptible transparent layer of cold wax medium to protect it from moisture and dust.
These two 12 x 24 inch prints on panels were created as one continuous image of vines crossing over from one into the next, but their composition is such that they also can be hung apart. Together, edge to edge, they measure 24 x 24 inches square, but can be spaced apart at any distance one likes.

Though my prints resemble an etching, block print, or monoprint using ink, these are multiple exposure cyanotypes, technically cameraless photographs made without a printing press.

The typical blueprint or sun print has a stark white silhouette against a solid dark blue background, but I prefer to manipulate the darkening process to achieve various shades of blue. My multi-tone technique is inspired by different kinds of printmaking that I have practiced in the past, especially multi-plate prints and aquatints.

The composition and tones are carefully planned, always keeping in mind the balance of positive and negative space and varied shades of blue to be achieved. The shades of blue depend on the number of seconds of exposure to light that each section of the paper painted with photo emulsion receives.

There is no copper plate, there is no ink, there is no printing press. There’s just the sun causing the photo emulsion painted on the paper to darken every second it is exposed to light. Every cyanotype is a unique monoprint. There is no way to reproduce exactly the same composition or effects even if I keep the same plant cuttings to use in a series before they wilt.

This is a pair of 12 x 24 inch prints mounted on painted wood panels. (30 x 60 cm). They can be spaced close or far apart, spanning anywhere from 25 inches to 40 horizontally. There is no need for framing as the deep 1.5 inch (3.8 cm) white painted sides are a frame.

The papers used in the collage are heavy 100% acid-free watercolor paper which will not yellow with age.The surface was rubbed with an imperceptible transparent layer of cold wax medium to protect it from moisture and dust.

118 Views

6

View In My Room

Night Garden Wall Diptych (mounted on panels) Collage

Christine So

United States

Collage, Monotype on Paper

Size: 24 W x 24 H x 1.5 D in

Ships in a Box

SOLD
Originally listed for $345

118 Views

6

Artist Recognition
link - Showed at the The Other Art Fair

Showed at the The Other Art Fair

link - Artist featured in a collection

Artist featured in a collection

ABOUT THE ARTWORK

These two 12 x 24 inch prints on panels were created as one continuous image of vines crossing over from one into the next, but their composition is such that they also can be hung apart. Together, edge to edge, they measure 24 x 24 inches square, but can be spaced apart at any distance one likes. Though my prints resemble an etching, block print, or monoprint using ink, these are multiple exposure cyanotypes, technically cameraless photographs made without a printing press. The typical blueprint or sun print has a stark white silhouette against a solid dark blue background, but I prefer to manipulate the darkening process to achieve various shades of blue. My multi-tone technique is inspired by different kinds of printmaking that I have practiced in the past, especially multi-plate prints and aquatints. The composition and tones are carefully planned, always keeping in mind the balance of positive and negative space and varied shades of blue to be achieved. The shades of blue depend on the number of seconds of exposure to light that each section of the paper painted with photo emulsion receives. There is no copper plate, there is no ink, there is no printing press. There’s just the sun causing the photo emulsion painted on the paper to darken every second it is exposed to light. Every cyanotype is a unique monoprint. There is no way to reproduce exactly the same composition or effects even if I keep the same plant cuttings to use in a series before they wilt. This is a pair of 12 x 24 inch prints mounted on painted wood panels. (30 x 60 cm). They can be spaced close or far apart, spanning anywhere from 25 inches to 40 horizontally. There is no need for framing as the deep 1.5 inch (3.8 cm) white painted sides are a frame. The papers used in the collage are heavy 100% acid-free watercolor paper which will not yellow with age.The surface was rubbed with an imperceptible transparent layer of cold wax medium to protect it from moisture and dust.

DETAILS AND DIMENSIONS
Multi-paneled Collage:

Monotype on Paper

Original:

One-of-a-kind Artwork

Size:

24 W x 24 H x 1.5 D in

Number of Panels:

2

SHIPPING AND RETURNS
Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Clients include: Timothée Chalamet, Starbucks, Ritz Carlton, Mayo Clinic, Jumaira Resort (Dubai), Wyndham Worldmark Hotels, Kimpton Hotel Monaco, Evercore NY, Apollo Global Management, NY, Mazars Accounting NY, Limelight Mammoth Hotel & Residences, MD Anderson Hospital, Houston Methodist Hospital, Oakland International Airport. Christine So is a painter, photographer and printmaker living across the San Francisco Bay in the hills of Oakland, California. Her works are heavily inspired by the woods where she has lived and hiked for decades. She works in acrylic and in the antique photographic process of cyanotypes. She creates botanical and abstract prints without a camera lens, as well as hand-printed landscape photographs of the foggy woods where she lives. Whether it’s painting, printmaking, or photography, her work is always nature-inspired and nearly always monochromatic. She has worked in a dozen mediums, cycling back and forth from painting to printmaking to cyanotype, applying effects from one medium to the next. She bridges the mediums of photography, monoprinting and painting. Her favorite question when working in the antique photographic process of cyanotypes is “What would happen if…?” She has devised a range of atypical techniques using the cyanotype process. Arguably the most striking of her unique methods are her cyanotype paintings in her Delft Garden series. The painted silhouettes of plants each contain an intricate blue and white pattern within them when viewed up close.The lengthy process begins as a pencil drawing which is then painted in–not with ink or paint–but with the cyanotype light-sensitive mixture in a dark room. It’s a tricky process as it’s hard to see what one is painting in very dim light. Days later once the photography chemicals have dried in the painting, she lays plants on top of the painted silhouette in a pattern that will leave gaps similar to lace. She then carefully moves the entire bundle outside and exposes the pattern to sunlight to create the image-within-the-image. The blue and white pattern seen in each leaf resembles painted Delft pottery, thus the title of this series: Delft Garden. Another of the artist’s innovative techniques is her series of completely abstract cyanotypes printed without photo negatives or stencils.

Artist Recognition
Showed at the The Other Art Fair

Handpicked to show at The Other Art Fair presented by Saatchi Art in Los Angeles

Artist featured in a collection

Artist featured by Saatchi Art in a collection

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